Notes

Introduction

1. Michel Chion describes The Scarlet Empress as a ‘Symphony of Textures’(2000).

2. James MacDowell has written about the aesthetics of ‘so bad, it’s good’through detailed exploration of The Room (2013).

3. Raymond Durgnat’s discussion of auteur theory engages with grouping andregrouping Hollywood directors according to facets of style, several cate-gories of which (‘soft’, ‘muscular’, ‘plush’) implies a textural understandingof those films (1967: 80).

4. Thomas Elsaesser and Malte Hagener’s Film Theory: An Introduction Throughthe Senses (2010) is an indicator of the importance of sensory response to filmin theory, as well as a useful reminder that attention to sensory experienceis not an entirely new facet of Film Studies.

5. As Ian Garwood points out, sensory scholarship tends to be divided into twocamps; those engaging with Merleau-Ponty and those engaging with Deleuze(2013: 14).

6. As indicated by Sobchack (2004), Beugnet (2007), Barker (2009), Elsaesserand Hagener (2010).

7. This bears a relationship to José Ortega y Gasset’s (1968) argument for twodifferent ways of seeing in art, proximate and distant vision. As GilbertoPerez puts it, Ortega’s proximate vision is tactile ‘we don’t merely see, wevirtually seize hold of an object with our eyes’ (1998: 135). Perez’s referenceto Ortega leads him to a rich discussion of the treatment of objects and spaceon film – the chapter ‘The Deadly Space Between’ (1998: 123–148).

8. Schiff’s two modes of touching map onto distinctions between haptic andoptical visuality.

9. Though some such language may also belong to the clichés used to evokefilm style (Clayton & Klevan, 2011: 1).

10. Susan Smith (2000) has explored the concept of tone as part of her study ofHitchcock.

11. Misek’s discussions of colour most illuminating to discussion of texture arein the range of qualities contained in the use of surface colour, such as thehardening qualities of colour in a rejection of Technicolor’s ‘law of emphasis’that decreed colour should support the emotional tenor of a scene (2010:56–57), and optical colour, for example, the propensity for desaturation inuse of natural light in New Hollywood filmmaking and how this light andmanipulations of it through use of smoke and dust shaped the space (2010:134–135).

12. As noted by Clayton and Klevan (2011: 5–6).13. In an article concerning the terminologies of textiles, cloth and skins,

Susanna Harris evokes the contrasting attitudes to the qualities of textiles

169

170 Notes

and their use in different cultural traditions. She states that ‘the selection (orrejection) of cloth-type materials was in accordance to wider culturally heldbeliefs based in the appropriate aesthetics of structure and surface’ (2008:230). In the same article she proposes:

The reason for selection in cloth types is culturally dependent and varied:it may depend on attributes such as color, thickness and decoration, desir-ability based on the origin of the product in terms of raw material, sourcethrough exchange, the user’s social relationship to the producer, or taboossurrounding particular materials.

(2008: 231)

1 Introducing Texture in Film

1. Thanks to my father, Graeme Fife, for his Classicist’s illumination of theetymological origins of ‘texture’. In his words: ‘From the Latin texo-texere-texui-tectum “to weave” from the root tek- which appears in the Greek etekon,tikto “to beget” ’ (2009).

2. Notably, this covers ‘any natural structure having an appearance or consis-tence as if woven; a tissue; a web, e.g. of a spider’ (OED).

3. Architecture and geography are other areas in which texture plays a role.Giuliana Bruno discusses the textural relationship between film and theseareas: ‘As we travel filmically in the shared “fabric” of apparel, building,and mapping, I dwell on the fiber of these domains, and particularly in thefolds – the texture – of their geophysic design, where wearing is, ultimately,a wearing away’ (2002: 9). Constance Classen’s exploration of the many tac-tile realms of the past, from the Middle Ages to Modernity, demonstrates thewide disciplinary reach of concern with texture, materiality and feel (2012).

4. ‘Spontaneity can be seen in Cézanne’s vigorously marked surfaces, whichdisplay unconventional texture as well as irregularity in degree of finish’(Schiff, 1991: 137).

5. My thanks to Alastair Rider for elucidating the significance of texture todiscussions of its absence.

6. Lesley Millar draws attention to a project by Japanese designer Masayo Ave,‘The Sound of Materials’, which explores the articulation of texture and seeksto create a haptic dictionary of newly created works to identify and describetexture. The project has its roots in the fact that Japanese has many instancesof onomatopoeic description, while other languages do not (2013: 31).

7. Though this has not always been the case. Earlier modes of viewing artpermitted this more intimate relationship between beholder and artwork,as touching was a part of the 18th century exhibition. See Classen (2005:275–286).

8. Schiff is instructive for such a comparison between painting and photog-raphy: ‘one is coarse-grained and relatively discontinuous – bumpy to theimagined touch – whereas the other is sufficiently smooth-gradated so as toinhibit the viewer’s attending to tactile qualities’ (1991: 147).

9. ‘Painters regularly use their hands to wipe off excess paint; but in [Baptism ofChrist, St. Jerome, Virgin of the Rocks, Adoration of the Magi and Ginevra de’Benci]Leonardo [da Vinci] used his fingers and the butt of his hand as if they

Notes 171

were brushes, sometimes dragging them across the tacky surface of nearlydry paint and sometimes punctuating a stroke with a single fingerprint’(2003: 233).

10. In 1921, his manifesto was read at the Theatre de L’Oeuvre in Paris andthe Exposition of Modern Art in Geneva. Marinetti proposes a scale of tac-tile values with categories of different touches as characterised by differentmaterials.

11. Although it may be a relatively new term, belonging principally to themodern age (Dunsby, 1989: 46).

12. Italian for texture.13. ‘Lower notes seem to have more “mass” than higher ones and so create a

much denser aural impression’ (Buhler et al., 2010: 47).14. Writing on sound technology, particularly the emergence and development

of Dolby Surround Sound, brings a focus on the spatiality of cinematicsound. See Chion ([2003] 2009: 117–146); Sergi (2004); Sobchack (2005).

15. For Barthes, the particular qualities of sound in the cinema throw the bodyof the actor into our ears, as it brings the audience into contact with avoice in ‘close up’, enabling us to hear in their materiality, ‘their sensual-ity, the breath, the gutturals, the fleshiness of the lips, a whole presence ofthe human muzzle’ ([1973] 1983: 413–414).

16. For a fuller discussion of these rhythmic qualities, see Elsaesser (1972: 11–12).17. Thanks to the speakers at the Symposium ‘Texture in Film’ (University of

St Andrews, 2013), and especially the contributors to the roundtable discus-sion for helping me get a clearer sense of these strands and their delineations,especially the ones further away from the specificities of my own concernswith texture.

18. As in the discovery in 1994 of over 800 negatives produced by Mitchell andKenyon in the early 1900s.

19. A tactile process that is being transformed through the move to digital film,which consists of materials that can’t be physically marked, scratched orpainted to transform the image.

20. Cinematographers interviewed in the documentary Side by Side (ChristopherKenneally, 2012) who discuss celluloid in these terms include Reed Morano,Bradford Young and David Tattersall.

21. Interviewed in The Cutting Edge: The Magic of Movie Editing (Wendy Apple,2004).

22. See Barry Salt ([1983] 2009: 47–48; 69; 85; 167; 199; 221).23. Salt discusses this practice as more of an aesthetic than budgetary choice in

independent filmmaking of the 1980s ([1983] 2009: 323).24. This is a significant aspect of the discussion of digital and film by filmmakers

in Side by Side.25. As revealed in interviews with production designers Richard Sylbert and

Richard MacDonald. Sylbert notes the difficulty of black-and-white: ‘It’s veryhard to do texture in black and white, because you’ve got to get separationand you can’t get it by changing colors’ (LoBrutto, 1992: 54–55). In contrast,McDonald observes the difficulty of colour:

Color has taken away all that depth of focus, all that quality. In black andwhite, you could use two velvets and could see the way that the nap on

172 Notes

one worked against the nap on the other. You could see the feel of it. Youcould see the density of the material.

(LoBrutto, 1992: 66)

26. ‘Softness and hardness of lenses varies with different manufacturers, andmany cinematographers have preferences depending on the type of effectrequired. Filtering is not just for colour and effects. In the old studio days upuntil the harder look of the ‘80s, a female star always had to have a softeningfilter, to ensure beauty in comparison to her male counterparts’ (Greenhalgh,2003: 109).

27. As noted by Valerie Orpen (2003: 37).28. As with other studio personnel, composers were contracted to studios and

became known for their specialities (Flinn, 1992: 19).29. Greenhalgh describes the codification of lighting: ‘Every genre was assigned

a “key” and contrast range to fit its mode of expression: heavy melodrama –low key, high contrast; comedy – high key, low contrast’ (2003:122).As Helen Hanson recounts, in melodrama (especially crime and thrillers),low key sound interrupted by sudden high key bursts is used to match therise and fall of the narrative and high contrast chiaroscuro of the visual style(2010: 94–97).

30. As practiced by Professor John Bateman and Dr Janina Wildfeuer of theBremen Institute for Transmedial Textuality Research, Faculty of Linguisticsand Literary Sciences, Bremen University.

2 Textural Worlds

1. Ride Lonesome was shot in just 18 days. The Shooting was shot back-to-backwith Ride The Whirlwind and shares the same production team, location andmost of the cast.

2. A company founded by director Budd Boetticher, star Randolph Scott andproducer Harry Brown. They made several films together, but only one other,Commanche Station (1960) bore the ‘Ranown Pictures’ title-card.

3. However, it was not distributed by Corman, and never saw a full theatricalrelease, despite being bought by the Walter Reade Organisation as they soldit for TV release instead.

4. Several of the writers for Oxford Opinion, including Ian Cameron andV.F. Perkins, went on to form the journal Movie.

5. The concept of generic verisimilitude describes the gap between our realityand that of a film.

6. See Pye (1975: 29–43) for a more detailed discussion of this interplay.7. Clint Eastwood in ‘Clint Eastwood on “Comanche Station” ’ – DVD fea-

turette on Comanche Station (Sony Pictures, 2008).8. Also perhaps due to its connections to 19th century American Literature,

and to Hollywood directors such as John Ford and Howard Hawks whowere praised as auteurs by writers in Cahiers du Cinema and Movie. See Kitses(1969), Pye (1975) and the series of articles collected in Nichols (1976).

9. Landscape is a key element in this iconography, especially for directors likeFord, who shot so many of his films in Monument Valley. Ride Lonesome wasshot in Lone Pine, California, which was a popular location for Hollywood

Notes 173

westerns. A number of films starring Randolph Scott were made there andalong with Ride Lonesome, Budd Boetticher shot several of his films with thestar there too – Seven Men from Now (1956), The Tall T (1957) and ComancheStation (1960). He made the decision not to shoot his westerns in the morefamous location of Monument Valley very deliberately, stating ‘That was JackFord’s, you know, and nobody could have done it better’ (Axmaker, 2008).The Shooting was filmed on location in Utah.

10. Of course, not all westerns embody exactly these textures, there are manywesterns that take place in more green countryside but that also featurehardship.

11. By the time he appeared in The Shooting, which was shot in 1965, WarrenOates had been featured in four western films (including Peckinpah’s RideThe High Country [1962] and Major Dundee [1965]) and approximately 27western television shows, including: Tombstone Territory (ABC, 1957–1959),Wanted: Dead or Alive (CBS, 1958–1961), The Rifleman (ABC, 1958–1963),Stoney Burke (ABC, 1962–1963), Rawhide (CBS, 1959–1966) and The Virginian(NBC, 1962–1971).

3 Experiencing Space

1. A term used to describe ‘a popular cycle of films from the 1990s thatrejects classical storytelling techniques and replaces them with complexstorytelling’ (Buckland, 2009: 1).

2. Robin Wood proposes that the decor ‘evokes immediately the gracious livingof the past’ (1965: 77).

3. As discussed by Tania Modleski (1988: 87–100).4. The posy itself is an object that is repeated elsewhere, in Carlotta’s portrait

and in the florist’s window before Scottie sees Judy for the first time.5. According to Barr, who describes aspects of the production context of the

film, Hitchcock went to great lengths to ground the film’s sets in the reality ofcontemporary San Francisco. For example, ‘he commissioned precise record-ings to the dimensions and contents of Ernie’s, the flower shop (PodestaBaldocchi) and the clothes shop (Ranoshoffs), in order to recreate themexactly in the studio’ (2002: 34).

6. The role played by light in shaping and complicating film space is notedby Noël Burch whose writing concerning the visual ‘flatness’ of early cinemarecognises that an essential element in cinema’s ‘gradual “conquest of space”is the mastering of lighting’ (1990: 176).

7. Horror films utilise this movement most frequently, as the camera stands infor the killer in films like Halloween and Friday the 13th (Sean Cunningham,1980).

8. The transformation of Fred to Pete is not explained by the film, and is anevent experienced as equally surprising and confusing by those within thefilm’s world – specifically the prison guards who find him – as by thoseoutside it.

9. For Reni Celeste the ideal projection of the film would be as an endless loop,allowing spectators to enter and leave at any point, a suggestion which elo-quently addresses the irrelevance of narrative revelation to the film’s affect(1997: 33).

174 Notes

10. Tico Romao discusses the connection of Lynch’s aesthetic approach with thatof American avant-garde filmmaking traditions, identifying his use of asso-ciative structures and loose narrative form as central elements that supportthis relationship (2002: 59–72).

11. Though, of course, such examples make assumptions about the watchingexperience and its consistency from cinema to cinema, and even betweenviewing contexts. The spatiality of the cinematic viewing experience is notthe same everywhere, as cultural practices differ. The question of whatsuch spaces do to our experience of texture on-screen is one for futurecontemplation.

12. ‘New, soul-shaking theatre speaker systems further challenge moviemakersto stretch their sonic creativity’ (Mancini, 1983: 40).

4 Sound

1. Splet states that 80% of the sound, not including the music, for Dune wascreated in post-production (Gentry, 1984: 64).

2. This is not to say that these elements of sound are easily separated, however,as scholars such as Gorbman have pointed out, the line between diegetic andnon-diegetic is often blurred, and furthermore, it can be difficult to separateelements which mingle together (for instance, a singing voice bridges musicand voice).

3. Laine cites the expression of ‘synasthetic sound-and-image experiences’ inthe theoretical writings of Siegfried Kracauer and Sergi Eisenstein (2011: 66).

4. Director Robert Wise used an experimental 28 mm Panavision anamorphiclens to achieve the distortions of space in the film (Turner, 1999: 85).

5. In his article on the score of The Best Years of Our Lives (William Wyler, 1946)Samuel L. Chell notes that Friedhofer’s score imparts ‘a subjective depth tothe flatness of photographed objects’ (1984: 31).

6. As noted by Chion: ‘Materializing indices can pull the scene toward thematerial and concrete, or their sparsity can lead to a perception of thecharacters and story as ethereal, abstract and fluid’ ([1990] 1994: 114).

7. In Vincent LoBrutto’s interviews with sound personnel, their attention tothe fine detail is immediately noticeable.

8. Point of audition, like point of view, is not without its complications,because, as Chion observes, there is a distinction between the spatial andsubjective point of audition.

9. Murch’s discussion of his sound design of Kurtz’s compound in ApocalypseNow (Francis Ford Coppola, 1979): ‘We can’t see anything about the space,so the only way we’re going to learn about it is through sound. [ . . . ]. Thesound of a drip echoed can really tell you something about how far awayyou are from that drip and what the space around it is. The smell of thesound’ (LoBrutto, 1994: 96).

10. In interviews with Jarrett (2000: 4) and Costantini (2010: 37).11. For example, in Robert Altman’s films perspective becomes multiple because

of his practice of miking actors individually, or in a ‘bus’, which brings asound effect disconcertingly to the foreground, especially its use in Cat People(Jacques Tourneur, 1942), as described by Helen Hanson (2010: 94–97).

Notes 175

12. Supervising sound editor Cecelia Hall refers to production design as the ‘mapwith all the clues’ (LoBrutto, 1994: 189), and goes into great detail about howthe sound design linked to visual design in the distinctions between the feelof the different submarines in The Hunt for Red October (John McTiernan,1990).

13. In an interview with Gary Hecker he performs the breathing of the horsefeatured in the scene from Robin Hood (Ridley Scott, 2011) that he is workingon (2013).

14. As Smith notes, ‘sounds that have no counterpart in everyday reality rep-resent an especially favourable opportunity for creative exploration on thepart of the Foley artist or sound designer’ (2013: 445).

15. Revealing the tricks is a feature of writing on foley work or sound effectsmore generally, for example: Mancini (1983); Hardesty (1991); Kawin (1992);Baker (2003); Ament (2009); Smith (2013).

16. As an example: ‘The whooshing kicks in The Karate Kid were made with abadminton racquet. Toss three BIC pen tops into a glass, and you’ll knowwhere movie ice cubes come from’ (Kawin, 1992: 466).

17. It’s difficult to say whether this is standard practice, but the use of cabbageto stand in for human/animal body parts, whether being hit or cut into, canbe seen in Track Stars: The Unseen Heroes of Film Sound (Terry Burke, 1979)and Barbara Baker’s interview with foley artist Diane Greaves, during whichshe references having to recreate the sound of a horse having its throat slit,achieved by ‘slicing a cabbage and doing gushing blood with our mouths’(2003: 206).

18. For example, Arthur Piantadosi (music mixer) on Altered States (Ken Russell,1980):

The effects came from Stanford University, where they did all kinds ofsound experiments and we got the benefit of it. The director, Ken Russell,got tracks from Stanford, John Corigliano had written the score, and wegot to weave them in and out of each other – they were one.

(LoBrutto, 1994: 18)

19. Interviews by LoBrutto (1994: 133) and Sergi (2004) go into the technicalitiesof Dolby and its development.

20. Chion observes that the directors most actively involved in the developmentof film sound in the New Hollywood era – George Lucas (in his collaborationswith Murch), Robert Altman and Francis Ford Coppola – were interested inpolyphonic uses of sound, and he describes Lucas as polyrhythmic (com-bination of different kinds of rhythm), while Altman’s sound focuses on averbal polyphony ([2003] 2009: 119).

21. David Cooper offers a detailed breakdown of the variations of the‘Madeleine’ theme (2003: 242).

22. Filmmakers involved in the production of sound frequently comment on therelationships between the design of sound and the visual style. For example,sound designer Gary Rydstrom: ‘You look for audio metaphors for what thefilm is trying to say. So you start thinking of sounds based on the mood theart director, set designer, costume designer, and everyone is trying to comeup with to help the movie achieve these emotions at any given moment’(LoBrutto, 1994: 228).

176 Notes

23. According to Eric Mancini, this was a practice used expressively by BaileyFesler and James Stewart (sound men who worked with Orson Welles):‘high angles often suggest weak, strident sounds; low angles suggest rumbly,hulking ones’ (1983: 42).

24. For sound designer Frank Serafine, sound and colour create material rela-tionships (Mancini, 1983: 42), and supervising sound editor, Frank Warnercatalogues his sound library using colour to signal the sound’s sensory quali-ties: ‘Red to me was more of a hard, mean sound; blue could be more passive.Green could be pastoral, very light or airy. It often depended on what mymood was when I started writing about my combination of sounds for thepicture. I always used colours’ (LoBrutto, 1994: 29).

25. As set out by Gorbman (1987: 73–76).26. While musicals reverberate with the possibility of singing and dancing hap-

pening at any time, I’m reminded here of an observation made to me byAdam O’Brien, that certain musicals have textures which seem to invite thepossibility of dance more than others. His example concerned the surfacesof On the Town (Stanley Donen & Gene Kelly, 1949) being more conducive tothe expectation of dance than those of Brigadoon (Vincente Minnelli, 1954).

27. And perhaps the relative lack of conflict that follows their romance moregenerally – it is temporarily derailed by Don’s co-star Lina Lamont’s med-dling, but this is overcome with relative ease. The main source of conflict inthe film concerns trying to get the first Lockwood and Lamont sound filmmade with the help of Kathy’s voice.

28. For example, ‘Isn’t it a Lovely Day’ in Top Hat (Mark Sandrich, 1935) and‘Dancing in the Dark’ in The Bandwagon (Vincente Minnelli, 1953).

29. An additional complication or layering within the film in regards to relation-ships between image and sound is the fact that Reynolds herself was dubbedwhen performing Lina’s voice. That Jean Hagen herself provided the speak-ing voice for Kathy-as-Lina adds a further strand to the textuality of the film,a key part of its self-reflectivity as noted by Steve Cohan (2000: 59).

30. In a panel discussion on film sound and music in Velvet Light Trap, the ques-tion of disciplinary difficulties is broached, and the participants make thepoint that terminology seems to be a boundary for film scholars, especiallywhen dealing with music. Their suggestions is that film music scholars arethere to fill in that language gap, and that textual analysis is the method bywhich the division of approaches (historical/technological versus identity)can be bridged (2003: 73–76).

5 Bring Me the Head of Alfredo Garcia

1. Haworth was production designer/art director on most of Peckinpah’s filmsin the 1970s: Junior Bonner (1972), The Getaway (1972) Pat Garrett & Billy theKid (1973), The Killer Elite (1975) and Cross of Iron (1977).

2. Straw Dogs (1971) and Cross of Iron are examples, that for me, most directlyembody visceral and raw affective qualities, making their horrors tangibleand therefore somewhat more penetrable.

3. Description of the film from Halliwell’s Film & Video Guide (quoted in Cooper,2011: 35).

Notes 177

4. Cooper suggests it is ‘a film is full of vivid moments’, but I don’t think thisquite goes far enough (2011: 9).

5. Mary Douglas’ writing on pollution and taboo establishes dirt as matter outof place, reminding us of an order which is now absent, and links this dis-order/order binary to fundamental states of existence: ‘Reflection on dirtinvolves reflection on the relation of order to disorder, being to non-being,form to formlessness, life to death’ ([1966] 1994: 6).

6. Cooper offers a thorough rundown of the film’s reception and reputation,from popular press, critics and academics, to fans and cult audiences (2011:29–46).

7. For example, in Bennie and Elita’s scene by the tree, which involvesan emotional exchange about the future of their relationship, there areshifts between close shots of both actors and longer shots of them bothunder the tree, the movement between which don’t seem motivated bydialogue.

8. Thanks to Douglas Pye for discussing Peckinpah with me, and articulatingsome ideas about the film that have helped me grasp some of the some ofthe looser ends of my thoughts.

9. Prince links Peckinpah and Arthur Penn in this regard, as two filmmakers ofthe late 1960s who wished to use the changes to the depiction of violence(created as a result of the dissolution of the Studio System and introduc-tion of the Motion Picture Association of America ratings system) to drawattention to violence of contemporary society (2000a).

10. Writing before Alfredo Garcia, Jim Kitses identifies this strand: ‘At timesPeckinpah can create a cinema of great charm, intimacy and pastorallyricism’ (1969: 168).

11. Peckinpah in Madsen (1974: 91).12. Wood identifies the descent-into-hell narrative as a major preoccupation of

the 1970s horror film (1980/1981: 26).13. 1974 seems to have been a particularly key year for an emergence of violence,

paranoia, life and filmmaking coming apart at the seams, as manifestedin films such as: Texas Chain Saw Massacre (Tobe Hooper), The Conversa-tion (Francis Ford Coppola), It’s Alive (Larry Cohen), The Parallex View (AlanJ. Pakula), Cockfighter (Monte Hellman) and A Woman Under the Influence(John Cassavetes).

14. Even in less extreme films than Alfredo Garcia there are shifts of style, forexample in changes to performance style via the influence of the Method,which drew more attention to itself.

15. Cooper identifies it as the ‘formal device most associated with the director’(2011: 72). It is certainly a strategy used throughout his work, and perhapsmost prominently in The Wild Bunch, though it is worth pointing out that itis used across different kinds of physical violence, so its use in Straw Dogs isvery different from that in The Wild Bunch.

16. Understanding of Elita in this light, and her central role in the con-struction of the film, counters accusations of misogyny. Kitses observesthat Peckinpah’s films feature such a figure in his identification of Elsain Ride the High Country and Angel in The Wild Bunch as that spiritualcentre.

17. Cooper (2011: 74).

178 Notes

18. Prince comments that the sound effects ‘sensuously detail the thud of bulletsinto flesh, the violent exhalation of breath, shattering pottery, or crashingglass’ (2000b: 189).

19. Cooper (2011: 49).20. Such as: Pye (1975); Wood (1977); Thomas (2000); Neale (2001); Maltby

(2003).21. For example: where did the Garcia family appear from; what were Sappensly

and Quill doing before they catch up with Bennie, and how did theyfind him?

22. Kitses compares Peckinpah’s work to Buñuel: ‘Luis Buñuel once observedthat “neo-realist reality is incomplete, official and altogether unreason-able; but the poetry, the mystery, everything which completes and enlargestangible reality is completely missing”. Different from Buñuel in manyways, Peckinpah nevertheless reveals a similarly all-embracing vision, a totalresponse to the world’ (1969: 160).

Conclusion

1. There are exceptions to the focus on the director as the key focus of writ-ing on film style, such as writing that attends to the detailed achievement offilm and privileges the role of performance (Klevan, 2005; Clayton, 2007),sound (Chion, [1990] 1994; [2003] 2009; Sergi, 2004; Hanson, 2013) orcinematography (Greenhalgh, 2005). Gibbs’ work on filmmakers’ choices like-wise brings attention to a network of decisions that make up film style (2006;2010; 2011).

2. Elsaesser and Hagener’s chapter on the digital is precisely concerned withits sensory possibilities, suggesting that it is ‘much more closely aligned andattuned to the body and the senses’ (2010: 174).

3. The fact it is becoming more rare to shoot on film is underlined by discoursesof authenticity and artistic value in sticking to film. There are filmmakerswho refuse to shoot on digital, despite the growing cost of celluloid. Anxi-eties about digital match the kind Di Bello discusses in relation to the massreproduction of artworks via photography and small statues.

4. Richard Misek describes how a film like 300, which was shot with real actorson a soundstage, with the details of location, action and the qualities of mise-en-scène (surface, lighting, colour) filled in by digital imaging ‘exemplifiesthe extent to which color (and, indeed, film as a whole) has now becomedependent on extensive post-production’ (2010: 153).

5. Chion also discusses these ideas in his article ‘Image, rendu, et texture’ (2000).

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Index

Note: Locators with the letter ‘n’ refer to notes.

Adamson, Glenn and Victoria Kelley,11–12

Affron, Charles, 10–11, 48, 81Altman, Rick, 114, 118, 119Amer (Hélène Cattet & Bruno Forzani,

2009), 1amplitude, 24, 26, 40, 97, 100,

128, 166Andrew, Dudley, 44–5, 166Arnheim, Rudolf, 38, 39, 42, 140–1aspect ratio, 37, 69Aumont et al, 82–3

back projection, 37, 87, 89, 91–3, 97Balázs, Béla, 135Baldick, Chris, 28, 31Bann, Stephen, 19–20Barker, Jennifer M., 3, 4, 5, 46–7, 52,

53, 54, 100, 169nBarr, Charles, 9, 51–2, 56, 57, 74, 80,

84, 93, 173nBarry Lyndon (Stanley Kubrick,

1975), 39Barthes, Roland, 26, 27, 29–31, 38, 46,

71, 72, 137, 140, 171nBaxandall, Michael, 47Berberian Sound Studio (Peter

Strickland, 2012), 121–2black-and-white, 36, 38, 83, 150, 171nBordwell, David, 54Bordwell, David and Kristin

Thompson, 118Brakhage, Stan, 34, 37Branigan, Edward, 53, 74, 114Bring Me the Head of Alfredo Garcia

(Sam Peckinpah, 1974), 12, 13,142–63, 165, 177n

Britton, Andrew, 9, 33Bruno, Giuliana, 5, 11, 48, 170n

Buhler et al., 21, 23, 41, 119,127, 171n

Burtt, Ben, 44

Cameron, Ian, 9, 172nCavell, Stanley, 8, 83celluloid, 33–7, 166, 171n, 178nChion, Michel, 43, 114, 118, 119, 120,

124, 125, 126, 128, 140, 167,169n, 171n, 174n, 175n, 178n

cinematography, 20, 34, 38, 82, 154,162, 167, 171n, 172n, 178n

camera movement, 26, 37, 40, 42,46, 48, 57–8, 85–6, 87, 93, 96,100–3, 134

camera position, 40, 45, 63, 65, 69,82, 126, 135, 138, 145, 158

lens, 38, 39–40, 87, 97, 98, 110, 116,127, 154, 172n, 174n

Citizen Kane (Orson Welles, 1941),35, 36

Clark, T.J., 157, 160Classen, Constance, 5, 170nClayton, Alex, 9, 178nClayton, Alex & Andrew Klevan, 6,

7, 169ncoherence, 9, 50–2, 53, 65, 79, 103,

110–11, 126, 142, 150, 154, 156,161, 162, 164–5

colour, 11, 34, 37–8, 39, 62, 69, 70, 81,83–4, 86, 87–90, 94, 95–6, 98,110, 149, 150–1, 164, 169n,171–2n, 176n, 178n

Connor, Steven, 4, 45Cooper, David, 24, 175nCooper, Ian, 142, 148–50, 153, 156,

161, 176n, 177n, 178ncostume, 38, 62, 64, 69, 73, 84–5, 87,

88, 90–1, 96, 134, 146, 147, 175nCranston, Jodi, 15, 16, 18–19, 170–1n

188

Index 189

criticism, 7–9, 12, 13, 168description, 7, 33, 140–1haptic, 5interpretation, 5, 8, 20, 30, 47, 81literary, 27–9; new criticism, 28–9;

practical criticism, 28traditions of British film criticism, 9,

27, 47, 50–1, 172n

Days of Heaven (Terrence Malick,1978), 55

decor, 6, 26, 37, 73, 75, 81, 82, 84–6,90–1, 95–9, 102, 108, 149, 165,168, 173n

Deleuze, Gilles, 3, 169nand Guattari, 4–5

depth, 5, 6, 10–11, 16, 20, 23, 39–40,53, 81, 86, 88–9, 92–3, 95, 97–100,101–3, 107–8, 110–11, 113, 117,118, 119, 126, 129, 138, 174n

Di Bello, Patrizia, 17, 19, 30, 166, 178ndigital film, 33, 34, 37, 125, 166–8,

171n, 178neffects, 35, 167

Double Indemnity (Billy Wilder, 1944),43, 105

Douglas, Mary, 16, 177nDune (David Lynch, 1984), 123, 174nDunsby, Jonathan, 21–2, 26, 171nDurgnat, Raymond, 10, 38–9, 169nDyer, Richard, 32

Earth (Alexander Dovzhenko,1930), 41

editing, 1, 20, 31, 34, 37, 42, 43, 45,54, 61, 62, 65, 71–2, 75, 77, 78,91, 100–1, 115, 123, 125, 137,149–50, 154, 158, 160, 162–3, 166

physicality of, 34effort, 19, 21, 30, 32, 37, 121, 135,

138, 147, 157–60, 162, 166, 167Elliot, Paul, 4Elsaesser, Thomas & Malte Hagener,

166, 169n, 178n

feeling, 2, 6–7, 9, 11, 12, 15, 24, 25,26, 27–8, 30, 32–3, 38–9, 40, 41,43–5, 48, 49, 51–2, 56, 58, 63, 65,66–7, 69, 70, 71, 79–80, 81, 82,

84–9, 95, 100, 110, 113, 114, 118,120–1, 123–4, 125, 129, 132, 134,137, 140–1, 142, 150–1, 152, 158,160, 161, 164, 165, 166, 168,170n, 172n, 175n

see also mood; touchFeuer, Jane, 129film world, 2, 6, 8, 10, 13, 40, 41,

43–4, 48, 49, 52–6, 58–70, 71,73–5, 79, 80, 83, 103, 105–6, 107,109–10, 113, 114, 118, 119–20,121, 142–3, 149–50, 153, 161–2,165, 173n, 178n

fine detail, 14, 27–8, 32, 33, 37, 47, 52,55, 111, 119–20, 122, 123–4, 142,150, 160, 165, 168, 174n

Fountain, The (Darren Aronofsky,2006), 1

Gallafent, Ed, 9Galt, Rosalind, 11, 149Garbo, Greta, 38, 39, 81Garwood, Ian, 3–4, 6, 10, 52, 169ngenre, 6, 9, 13, 32, 41, 43–4, 45, 46,

49, 66–70, 73, 79, 80, 104, 113,140, 161, 162, 165, 172n

action, 24, 41, 67, 140comedy, 41, 45, 66–7, 172nfilm noir, 43, 67, 82, 104horror, 41, 46, 104, 113, 115,

139–40, 173n, 177nmelodrama, 66–7, 68, 101, 110–11,

161, 172nthe musical, 113, 125, 129–30, 176nthe western, 13, 49, 67, 68–70,

153, 173nGibbs, John, 9, 37, 40, 178nGibbs, John & Douglas Pye, 7, 8–9,

27, 47Glitre, Kathrina, 9, 66Gombrich, E.H., 17, 39, 99–100, 119Gorbman, Claudia, 114, 115, 125–6,

127, 137, 174n, 176nGoverness, The (Sandra Goldbacher,

1998), 1grain, 25–6, 31, 33, 34, 36, 47, 98,

101, 137–8, 140, 144Greenhalgh, Cathy, 38, 39,

172n, 178n

190 Index

Grindhouse (Quentin Tarantino &Roberto Rodriguez, 2007), 35

Halloween (John Carpenter, 1978),46, 173n

Hanson, Helen, 172n, 174n, 178nhaptic, see touchHaunting, The (Robert Wise, 1963),

12, 113, 115–18, 124, 127,138–40, 165

Haworth, Ted, 142, 176nHecker, Gary, 122, 175nHerrmann, Bernard, 42, 115, 125Hillier, Jim & Douglas Pye, 129

incoherence, 110, 153–6Inland Empire (David Lynch,

2006), 168

Johnson, Richard, 115, 139Johnson, William, 113, 126, 127Joyless Street, The (G.W. Pabst,

1925), 39

Kawin, Bruce, 119, 175nKelley, Victoria, 12, 16Kelly, Gene, 128–30, 134, 135–6, 138Kiss Me Deadly (Robert Aldrich, 1955),

38, 43Kitses, Jim, 69, 149, 153, 162, 172n,

177n, 178nKlevan, Andrew, 9, 81, 83, 178nKracauer, Siegfried, 3, 126, 127, 174n

Laine, Tarja, 11, 114, 174nlandscape, 49, 52, 54, 57–8, 61–2, 65,

68–70, 75, 79, 91, 149, 151–3,172–3n

Leavis, F.R., 27–8Letter from an Unknown Woman (Max

Ophuls, 1948), 42, 47light, 16–18, 21, 33, 38–9, 43, 48, 67,

69, 70, 75, 81, 82, 83, 86, 87–9,93, 95, 96, 97, 98–100, 102, 108,110, 111, 113, 119, 149–51, 156,166, 169n, 172n, 173n, 178n

see also surface; touch

LoBrutto, Vincent, 8, 44, 49, 82,120, 121, 142, 171–2n, 174n,175n, 176n

Lost Highway (David Lynch, 1997), 12,81–2, 95–106, 107, 109–10,112–13, 165, 168, 173n, 174n

Magnolia (Paul Thomas Anderson,1999), 125

Major Dundee (Sam Peckinpah, 1965),149, 173n

Mancini, Eric, 127, 174n, 175n, 176nMan with a Movie Camera (Dziga

Vertov, 1929), 42Man Ray, 16, 18Marie Antoinette (Sofia Coppola,

2006), 39Marinetti, F.T., 20, 171nMarks, Laura U., 3, 4–5, 12materiality, 2, 6, 9, 11, 22, 28, 45,

56, 73, 145, 156, 162,170n, 171n

of film, 5, 10, 34, 37, 39, 56, 67,115, 118, 121, 165, 171n

of music, 22–4, 115–18; see alsopitch

of sound, 114–15, 121–4,137–40, 176n

of space, 38, 73, 82–111, 118–20,143, 149, 165

of the text, 31, 32McDonaldson, Richard, 82, 171–2nMcMahon, Laura, 3Memento (Christopher Nolan,

2000), 36Merleau-Ponty, Maurice, 3, 46,

47, 169nMillar, Lesley, 4, 18, 170nMise-en-scène, 27, 69, 83, 86, 102,

154, 160, 165, 178nsee also cinematography; costume;

decor; production designMisek, Richard, 11, 36, 169n, 178nmood, 9, 43–5, 48, 49, 50, 52, 56–7,

65–6, 69, 71, 84, 109, 113, 114,127, 140, 149–50, 165, 175n

Mulvey, Laura, 111Murch, Walter, 34, 119, 174n, 175n

Index 191

Nancy, Jean-Luc, 3narrative, see structure

Oates, Warren, 50, 54, 62–3, 69, 76,142, 144, 146–8, 159–60, 173n

Pain and Gain (Michael Bay, 2013), 24Panofsky, Erwin, 15pattern, see structurePeacock, Steven, 9, 38Pearlman, Karen, 41, 72Peckinpah, Sam, 142, 150, 151, 153,

155–6, 162, 173n, 176n, 177n,178n

Perez, Gilberto, 9–10, 39, 41, 70, 162,169n

Perkins, V.F., 7, 9, 51, 53–4, 73, 154,164–5, 172n

Piston, Walter, 22pitch, 21, 23–6, 40, 60, 63, 112–13,

115–16, 118, 126–7, 128, 129–31,132–3, 134, 138–9, 141, 147,161, 166

point of view, 43, 46, 52, 79, 86, 88,89, 93, 106–10, 174n

Pollack, Jackson, 18, 20, 150, 154, 160Prince, Stephen, 150, 151, 155–6, 163,

177n, 178nproduction design, 9, 20, 37, 73, 82,

120, 162, 166, 171n, 175n, 176nProductivist art, 20proprioception, 4, 46, 54, 103, 120,

124, 147, 165Psycho (Alfred Hitchcock, 1960),

47, 115Purse, Lisa, 167Pye, Douglas, 9, 10, 43, 56–7, 106,

150, 172n, 177n, 178n

Queen Christina (Rouben Mamoulian,1933), 38, 81

Ransom, J.C., 28Rebecca (Alfred Hitchcock, 1940), 1Reynolds, Debbie, 128–9, 134, 135,

176nrhythm, 13, 20, 21, 22–5, 26–7, 28,

41–2, 49, 60–1, 65, 71–2, 73, 75,76, 77, 80, 86–7, 98, 100–2,

116–17, 126–7, 128, 129, 135,140–1, 147, 150, 155, 156–60,166, 171n, 175n

see also slow-motionRichards, I.A., 27, 28–9, 51Ride the High Country (Sam Peckinpah,

1962), 149, 173n, 177nRide Lonesome (Budd Boetticher, 1959),

12, 49–50, 54, 57–62, 65, 68–70,71, 72–3, 74, 75, 78, 79–80, 164,172–3n

Right Stuff, The (Philip Kaufman,1983), 125

Room, The (Tommy Wiseau, 2003), 2,169n

Rosemary’s Baby (Roman Polanski,1968), 45

Salt, Barry, 35, 36, 171nScarlet Empress, The (Josef von

Sternberg, 1934), 1, 169nSchiff, Richard, 4, 15–17, 19, 20, 169n,

170nScott, Randolph, 49, 54, 59, 60, 61, 69,

172nScruton, Roger, 22, 23–5Searle, Humphrey, 115Sergi, Gianluca, 125, 135, 171n, 175n,

178nShaviro, Steven, 3Shooting, The (Monte Hellman, 1966),

12, 13, 49–50, 54, 62–5, 68–70, 71,74, 75–80, 110, 165, 172n, 173n

Singin’ in the Rain (Stanley Donen &Gene Kelly, 1952), 12, 113,128–38, 164, 176n

Sirk, Douglas, 110, 164slow-motion, 13, 76, 147, 155–60, 162

see also rhythmSmith, Jeff, 121, 175nSobchack, Vivian, 3, 5–6, 46, 47, 54,

114, 169n, 171nSophie’s Choice (Alan J. Pakula, 1979),

36sound design, 13, 20, 37, 44, 49, 70,

73, 97, 111, 113, 119–24, 125–7,129, 130, 158, 162, 166, 174n,175n, 176n

Foley work, 9, 37, 120–2, 123, 175n

192 Index

sound design – continuedsound mix, 37, 43, 122, 123,

124–5, 175nSplet, Alan, 113, 123–4, 174nStonebreakers, The (Gustave Courbet,

1849), 157, 160structure, 15, 21–4, 26, 27, 28–9, 32,

40–3, 49, 51, 66–7, 71, 79, 80, 83,123, 124–5, 154, 160–2, 165, 170n

horizontal axis, 40, 41–2, 71–3, 75,76–7, 79, 116, 117–18, 128,132–4, 147, 156, 158, 160,162, 166; see also surface; warpand weft

horizontality, 23, 26–7, 29–30, 49, 70interrelationship of elements, 6, 16,

21, 22, 26, 29, 40–1, 51, 69,74–5, 100, 126–8, 129–37, 154,161, 163, 164, 165, 168

layering, 21, 24, 31–2, 34, 43, 46,47, 72, 80, 109, 122–5, 160,162, 163, 166, 168, 176n

mode of reading, 29–31, 32,46–7, 71

narrative, 1, 6, 7, 9, 12, 13, 14, 27,29–30, 40–2, 43, 49–50, 52, 55,58, 68, 70–80, 82, 83, 90, 101,104, 106–7, 109–10, 125, 142,148, 150, 160–2, 165, 172n,174n

pattern, 8–9, 10, 14, 21, 24, 27, 32,40–2, 49, 70, 71–3, 77, 79, 83,89, 93, 101, 125–6, 128, 129,154, 155, 158, 164, 166

sound and image, 40, 75, 97–8, 118,126–8, 129–37, 144, 150, 152,158, 160, 165, 176n

vertical axis, 27, 30, 32, 40, 71, 72,73–4, 75, 76, 79, 81, 116,117–18, 128, 132–3, 139, 158,160, 162, 165–6; see also surface;warp and weft

verticality, 23, 26, 30, 37studio style, 43–4, 172nsurface, 1, 2, 7, 8, 10, 11–12, 14,

16–17, 19, 20–1, 28, 29, 30, 32,33–4, 37–8, 40, 43, 58, 66–7, 71,81–3, 84–5, 88–90, 101–2, 103,104, 110–11, 132, 137, 143, 150,

152, 154, 155–6, 164, 165, 167,169n, 171n, 176n, 178n

of the body, 62, 67, 69, 76, 81, 90–1,99, 101, 106, 121–2, 135, 137,143, 145–7, 156, 157–9

and depth, 5, 6, 11, 20, 89, 93,97–100, 129

between film and spectator, 6, 45,46–7, 52–3, 81, 100, 103,114, 124

friction, 60, 68, 75, 106, 109,138, 139

and light, 17–18, 33, 38–9, 43, 48,67, 95, 97–8, 111, 113, 173n

in music, 22–3, 24–6, 115, 117–18,129–30, 137

and sound, 97–8, 112, 114,118–24

tactility, 4, 15–16, 37, 95–7, 98, 121,167, 170n

through voice, 26, 32, 60–1, 118,135–40, 144, 146, 160, 171n

see also proprioceptionSylbert, Richard, 8, 171n

Tactilism, 20–1Taxi Driver (Martin Scorsese,

1976), 120technology, 33, 37, 40, 97, 119, 122–4,

154, 166–8, 171n, 175nsee also digital film

Terminator 2: Judgment Day (JamesCameron, 1991), 1

textuality, 5, 29, 30–2, 46, 123,155, 176n

‘textural analysis’, 4, 5texture

in architecture, 170neffacing/absence of texture, 9, 15,

16, 18, 19, 26, 35, 37, 80, 121,125, 130, 154, 166, 170n

in literature, 27–32in music, 21–7; heterophony, 21–2,

127; homophony, 21–2, 23, 32,42, 127–8, 135; monophony,21–2, 23, 127; polyphony, 21–2,23, 29, 32, 43, 119, 124, 127–8,129, 130, 135, 175n

temporal, 36, 39, 71

Index 193

textiles, 17–18, 169–70nin visual art, 15–21

texturesbusy, 23, 112, 132, 134, 137dense, 7, 22, 23, 24, 25, 26, 29, 41,

46, 67, 72, 84, 93, 103, 110,112, 126, 132, 134, 157, 160,162, 164, 171n, 172n

gritty, 2, 7, 11, 33, 35, 36, 123,146–7, 148

hard, 1, 26, 33, 34, 38, 40, 43, 45,54, 61, 62, 66, 67, 68, 69, 71,75, 89, 97, 98–100, 101–3, 104,109, 110–11, 112–13, 117, 119,120, 124, 133, 135, 138, 139,146, 147–8, 160, 161, 162,169n, 172n, 176n

loose/fragmented, 63, 65, 66, 77,104, 110, 152–3, 161–2, 174n

metallic, 1, 25, 38, 67, 122, 124,130, 152

opaque, 23, 65, 77, 78, 112, 165rough/ragged, 1, 8, 19, 22, 36, 57,

63, 65, 67, 68, 77, 95, 143,146–7, 149

sharp, 25, 26, 42, 43, 59, 61, 62, 63,67, 71, 76, 90, 102, 109,112–13, 115–16, 117, 119, 120,122, 124, 125, 130, 132, 137,139, 150

shiny, 16, 33, 43, 67, 89, 96–7, 99smooth, 1, 2, 11, 16, 17, 18, 19, 22,

24, 25, 33, 37, 40, 42, 47, 57–8,62, 65, 67, 71, 80, 86, 95,100–2, 112, 115, 120, 125,133–4, 138, 139, 143, 147, 165

soft, 8, 25, 33, 34, 38, 40, 58, 61, 62,63, 65, 66–7, 76, 86–9, 90–1, 96,97–100, 101–3, 109, 112–13,115, 118, 119, 124, 125, 130–2,134, 135, 137, 138, 139, 141,144, 146, 148, 150–2, 156,169n, 172n

sticky, 33, 115tangle, 22, 110, 116, 139, 162thick, 14, 23–4, 25, 27, 31, 34, 38,

45, 47, 74, 85, 86, 94, 97–8,100–1, 110, 112, 113, 118, 121,

122, 124, 130–2, 133–5, 139,147, 157–60, 164, 170n

thin, 7, 8, 14, 22, 23, 24, 25, 32, 39,41, 63, 74, 79, 87, 97–8, 104,113, 119, 122, 131, 132, 133,134–5, 138, 139, 162

Thomas, Deborah, 7–8, 9, 45, 56–7,61–2, 66–7, 104, 161, 178n

300 (Zack Snyder, 2007), 167, 178ntimbre, 22–3, 25, 49, 115,

118–20, 139tone, 10, 23, 39, 43, 45, 56, 66, 104,

130, 148, 161, 169ntouch, 1, 3–5, 34, 46, 82, 103, 120,

134, 143, 165authorship, 18–20, 26, 27, 30, 32,

162in classical film theory, 3consistency, 33deflection of, 88, 90, 96, 162experiencing art, 16–17, 18, 20–1,

154, 170n, 171nhaptic, 21, 81; criticism, 5;

definitions, 4–5; qualities, 12,16, 20, 106

illusion of, 5, 16–18, 33, 38, 81,82–3, 167

impression, 17, 21, 166modes of touch, 4, 169nin sensory film theory, 4,

6, 169ntactile process in art, 15, 18–19,

20–1, 170–1ntactility of language, 27tactility, see structure

Toy Story (John Lasseter, 1995), 167Turin Horse, The (Béla Tarr, 2011), 1

Vasseleu, Cathryn, 14, 48Vertigo (Alfred Hitchcock, 1958), 12,

13, 14, 81–95, 103, 104, 107, 109,125, 128, 164, 173n, 175n

voice, see surface

Walters, James, 9, 53warp and weft, 6, 10, 14, 24, 29, 30,

32, 33, 49, 70–4, 75, 128see also structure, horizontal

axis/vertical axis

194 Index

Weddle, David, 158, 162–3Where the Sidewalk Ends (Otto

Preminger, 1950), 43Wilson, George M., 42, 47, 74–5Wood, Robin, 9, 50, 84, 154–5, 173n,

177n, 178n

Written on the Wind (Douglas Sirk,1956), 110, 164

Wurtzel, Stuart, 49

Yacavone, Daniel, 55–6Yates, Christopher, 55