Frontmatter
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