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This digital document is an article from Criticism, published by Wayne State University Press on March 22, 2003. The length of the article is 10833 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.Citation Details
Title: So many fragments, so many beginnings, so many pleasures: the neglected detail(s) in film theory.
Author: Rashna Wadia
Publication: Criticism (Refereed)
Date: March 22, 2003
Publisher: Wayne State University Press
Volume: 45 Issue: 2 Page: 173(23)Distributed by Thompson Gale
Excerpt. © Reprinted by permission. All rights reserved.
1. Antistructural Criticism
Cannot each text be defined by the number of disparate objects (of
knowledge, of sensuality) which it brings into view with the help
of simple figures of contiguity (metonymies and asyndetons)? Like
the encyclopedia, the work exhausts a list of heterogeneous
objects, and this list is the work's antistructure, its obscure
and irrational polygraphy.
"WE USED TO WALK the cold, deserted streets," recalled Phillipe Soupault, "in search of an accident, an encounter, life." (1) And then they discovered American cinema through a movie poster--perhaps of Edwin S. Porter's The Great Train Robbery--showing "a man, his face covered with a red handkerchief, ... pointing a revolver at the unconcerned passersby...
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