人文論究６４‐３（よこ）（Ｐ）☆／１．桑原
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2 Paul Thomas Anderson, There Will Be Blood, 2007 The Master, 2012 photogenie1920 Louis Delluc,
3 Jean Epstein, Léon Moussinac, photogenic
4 200 Cigarettes & Coffee, 1993 Hard Eight, 1996 Robert Jonathan Demme, 1944 Robert Altman, Martin Scorsese, 1941 Akira Kurosawa, Magnolia, Short Cuts, 1993 A Prairie Home Companion, 2006 Boogie Nights,
5 Aimee Mann, 1960 Philip Baker Hall, 1931 Philip Seymour Hoffman, CJohn Christopher Reilly, 1965 Melora Walters, 1968 Luis Guzmàn,
6 Jean-Pierre Melville, Punch-Drunk Love,
7 John Huston, The Treasure of the Sierra Madre, mm Alfred Hitchcock, Vertigo 58 Alfred Hitchcock, North by Northwest59 65 mm
8 Michael Penn, Jon Brion, 1963 Radiohead Jonathan Richard Guy Greenwood, British Composer Awards Popcorn Superhet Receiver 6 Psycho, 1960 The
9 Shining, 1980 Daniel Day-Lewis, 1957
10 11 20
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12 moments of truth Joaquin Rafael Phoenix, 1974
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17 Le Cinématographe vu de l Etna valeur morale 21
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19 6 23 Neorealismo André Bazin, Jean-Luc Godard, 1930 Nouvelle Vague
20 Kelly Ritter, Spectacle At The Disco : Boogie Nights, Soundtrack, and the New American Musical. Journal of Popular Film and Television, pp DeathlyNow that I ve met you, would you object to never seeing each other again? Richard Whalley Anthony Curtis, 1956 Love Actually, 2003 Paul Haggis, 1953 Crash, Lorraine Sim, Ensemble Film, Postmodernity and Moral Mapping, Screening The Past Publications, http : //www. screeningthepast. com/ 2012/ 12/ ensemble film postmodernity and moral mapping/
21 Lain Stasukevich, Promoting The Couse, American Cinematographer, American Society of Cinematographer, November 2012, pp Robert Altman, Altman on Altman, David Thompson, ed., New York : Faber and Faber, 2005 pp Jean Epstein, Le Cinématographe vu de l Etna, Paris : Les Écrivains Réunis, Jean Epstein Critical Essays and New Translations, Sara Keller and Jason N. Paul, ed., Amsterdam University Press, 2012, p.294. Ibid., p James Bell, The Anderson Tapes P. T. Anderson interview, Sight & Sound, 2012, pp David Bordwell, The Art Cinema as a Mode of Film Practice, Film Criticism, David Bordwell, Classical Hollywood Cinema : Narrational Principles and Procedures, New York : Columbia University Press, David Bordwell, Kristin Thompson, Film Art : An introduction Eighth edition, New York : McGraw-Hill, Louis Delluc, Photogénie, Paris : M. de Brunoff, Joanne Clarke Dillman, Magnolia : Masquerading as Soap Opera, Journal of
22 Popular Film and Television, 2005, pp Hsuan L. Hsu, Racial Privacy, the L. A. Ensemble Film, and Paul Haggis s Crash, Film Criticism, 2006, pp Graham Huller, Hearts and Minds, Sight & Sound, 2012, pp Kent Jones, Battlefield Mankind, Film Comment, 2012, pp Robert Kolker, A Cinema of Loneliness, London : Oxford University Press, Nina Lara Rosenblatt, Photogenic Neurasthenia : On Mass and Medium in the 1920s, MIT press, Robert T. Self, Robert Altman s Subliminal Reality, Minneapolis : University of Minnesota Press, 2002.
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