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NOTES
1. THE WayY MOVIES LOOK
Studies of film historiography particularly relevant to this book are Robert C. Allen and Douglas Gomery, Film History: Theory and Practice (New York: Random House, 1985); and Paolo Cherchi Usai, Burning Passions: An Introduction to the Study of Silent Cinema, trans. Elizabeth Sansone (London: British Film Institute, 1994). Articles on the subject are collected in Les cahiers de la Cinémathéque no. 10-11 (Summer—Autumn 1973); Cinématographe no. 60 (September 1980); Jacques Aumont, André Gaudreault, and Michel Marie, eds., Histoire du cinéma: Nouvelles approches (Paris: Publications de la Sorbonne, 1989); and Film History 6, no. 1 (Spring 1994). See also Kristin Thompson and David Bordwell, Film History: An Introduction (New York: McGraw-Hill, 1994), pp. xxv—xlii and “Doing Film History,” at www.davidbordwell.net/essays/doing.php.
1. An example of this criticism can be found in Patrice Petro, “Feminism and Film History,” Camera Obscura no. 22 (January 1990): 9-26.
2. See Allen and Gomery, Film History: Theory and Practice, pp. 67-76.
3. I try to inventory these in Making Meaning: Inference and Rhetoric in the Interpretation of Cinema (Cambridge: Harvard University Press, 1989).
4. For a discussion of the relations between research traditions and research programs, see Larry Laudan, Progress and Its Problems: Towards a Theory of Scientific Growth (Berkeley: University of California Press, 1977), chap. 3.
5. Early examples are Francesco Pasinetti, Storia del cinema dalle origini a oggi (Rome: Bianco e Nero, 1939); and Ove Brusendorff, Filmen: Dens navne og historie, 3 vols. (Copenhagen: Universal-Forlaget, 1939-1940).
6. This problem is discussed briefly by a roundtable of scholars in Daan Hertogs and Nico de Klerk, eds., Nonfiction from the Teens: The 1994 Amsterdam Workshop (Amsterdam: Netherlands Film Museum, 1994), pp. 32-35, 64.
7. See, for example, Rick Altman, ed., Sound Theory Sound Practice (New York: Routledge, 1992); Michel Chion, AudioVision, trans. Claudia Gorbman (New York: Columbia University Press, 1994); Kathryn Kalinak, Settling the Score: Music and the Classical Hollywood Film (Madison: University of Wisconsin Press, 1992); Royal S. Brown, Overtones and Undertones: Reading Film Music (Berkeley: University of California Press, 1994).
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