Filmed Thought: Cinema as Reflective Form

Dedication
Contents
Section I: Cinema as Reflective Form
	1 Cinematic Reflection
	2 Cinematic Self-Consciousness in Alfred Hitchcock’s Rear Window
Section II: Moral Variations
	3 Devils & Angels in Pedro Almodóvar’s Talk to Her
	4 Confounding Morality in Alfred Hitchcock’s Shadow of a Doubt
Section III: Social Pathologies
	5 Cinematic Tone in Roman Polanski’s Chinatown: Can “Life” Itself Be “False”?
	6 Love & Class in Douglas Sirk’s All That Heaven Allows
Section IV: Irony & Mutuality
	7 Cinematic Irony: The Strange Case of Nicholas Ray’s Johnny Guitar
	8 Passive & Active Skepticism in Nicholas Ray’s In a Lonely Place
Section V: Agency & Meaning
	9 Vernacular Metaphysics: On Terrence Malick’s The Thin Red Line
	10 Psychology Degree Zero? The Representation of Action in the Films of the Dardenne Brothers
Acknowledgments
Works Cited
Index