Index
a: a novel (Warhol), 166–67, 265n20
accidents. See the crash
Acker, Kathy, 163, 169
Act of Seeing With One’s Own Eyes, The
(Brakhage), 255n34
Adamic, Louis, 113
Address of the Eye: A Phenomenology of
Film Experience, The (Sobchack), 36
Adorno, Theodor, 90
Aetna Casualty and Surety Company,
123–25
Aetna Driver Trainers, 256n42
“Aftermath of Sudden Death, The,”
255n34
afterwardsness, 145, 209–10, 272n10
Agamben, Giorgio, 89–90, 253n84,
272n6, 273n19
Agee, James, 248n23
Agel, Henri, 242n24
“‘Almodóvar’s Girls’ (All About My
Mother)” (Bersani and Dutoit),
250n38
Altamont Speedway, 274n31
American Academy of Political and
Social Science, 56
Americans, The (Frank), 137–38
American Silent Film (Everson), 65–66
Amores perros (González Iñárritu), 179–
203; animal vision in, 198–200, 203;
circular narrative of, 183–84; color
saturation methods of, 186; com-
peting vectors of movement in, 184,
189–91, 193–94, 200; critical response
to, 181–82; interrelated collisions in,
189–91, 193, 200; misogyny in, 197–
98; Part One: “Octavio y Susana,” 182,
189–92; Part Two: “Daniel y Valeria,”
182–83, 192–98; Part Three: “El Chivo
y Maru,” 183, 198–203; stasis and mo-
tion in, 183–85, 189, 192–98, 271n19;
still photographs in, 183, 185–89,
199–203, 271n16; women as static
icons in, 192–98
Andrew, Dudley, 38
And Sudden Death (Barton), 248n18,
255n34
“—And Sudden Death” (Furnas), 113–17,
255n34
Andy Warhol, artist, New York City
8/20/69 (Avedon), 169
Angell, Callie, 148, 152, 158, 171, 259n10,
263n52
animal metaphors, 198–200
Ant Farm, 105, 138–40, 147–51, 261n31
L’arrivée d’un train (Lumière and
Lumière), 30–35, 242n21
Arroseur et arrosé (Lumière), 245n65
art cinema, 2
art per se, 2
Atrocity Exhibition, The (Ballard), 147
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