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To my mother, Elizabeth Margaret Oeler
sonnet 83
Illustrations
Acknowledgments
Introduction
Part One Murder and Montage
1 Framing for Murder: Cut-Ins and Close-Ups
The Human Face, the Murder Weapon, and the Close-Up
How Guns Get attention in Film theory
Case Study: Vsevolod Pudovkin’s The Heir of Genghis Khan (aka Storm over Asia, 1928)
Murder and Perspectival Scale: eisenstein’s “Hidden Montage”
2 Acting in Silents: Murder, Montage, and the Film Actor
The Body in Pieces
Man, Montage, and the Machine Aesthetic
Case Study: Lev Kuleshov’s By the Law (1926)
The End of St．Petersburg (1927): Bringing Life to a Statue
Aural Montage and Pudovkin’s Deserter (1933)
Anatomy as Alphabet and the Occlusion of Interiority
Putting Stanislavsky Actors through the Montage Machine: Revolvers and Revolutionary Consciousness in The Mother (1926)
Coda: Eisenstein, Inner Speech, and Murder
3 Murder Outside the Poetics of Montage: André Bazin and Jean Renoir
André Bazin and the Preservation of Loss
Bazinian Ambiguity and the Murder Scene
Murder Scenes in Renoir’s Films of the1930s: An Overview
Case Study: Jean Renoir’s The Crime of Monsieur Lange (1936)
The Rules of the Game (1939)
A Montage of Distractions: La Chienne (1931), Toni (1935), La Bête humaine (1938), and La Marseillaise (1938)
Part two Murder and Genre
4 Individual and Series
Montage and Genre
Manny Farber and the Logic of Genre
Case Study: Jules Dassin’s The Naked City (1948)
“Cosmetics on a Cadaver”: James agee on war Films
5 Stylization and Mimesis
Murder as Stylization
Mildred Pierce (1945)
Style and the Man
Murder in the Mirror: The Shining (1980) and Dead Man (1995)
Bibliography
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