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ADVANCE PRAISE FOR TEACHING SOUND FILM: A READER; TABLE OF CONTENTS; LIST OF FIGURES; INTRODUCTION; CHAPTER 1: THE FRONT PAGE, DRAMATIC FARCE, AND AMERICAN (FILM) COMEDY; BIBLIOGRAPHY; CHAPTER 2: PERIOD PIECE, PEACE PICTURE: RENOIR'S LA GRANDE ILLUSION RECONSIDERED; BIBLIOGRAPHY; CHAPTER 3: THE REAL FASCINATION OF CITIZEN KANE: WELLES'S MASTERPIECE RECONSIDERED; BIBLIOGRAPHY; CHAPTER 4: ITALIAN NEOREALISM, VITTORIO DE SICA, AND BICYCLE THIEVES; BIBLIOGRAPHY; CHAPTER 5: DEATH WISH, CHILD'S WHIM, AUTEURIST WILL: BOYER AND CLÉMENT'S FORBIDDEN GAMES REPLAYED; BIBLIOGRAPHY
CHAPTER 6: CIRCUMSTANTIAL EVIDENCE: AKIRA KUROSAWA AND THE SEVEN SAMURAIBIBLIOGRAPHY; CHAPTER 7: THE ARTISTIC ACHIEVEMENT OF FEDERICO FELLINI: THE NIGHTS OF CABIRIA AS EXEMPLUM; BIBLIOGRAPHY; CHAPTER 8: FARCE, DREAMS, AND DESIRE: BILLY WILDER'S SOME LIKE IT HOT RE-VIEWED; BIBLIOGRAPHY; CHAPTER 9: MARRIED TO THE JOB: ERMANNO OLMI'S IL POSTO; BIBLIOGRAPHY; CHAPTER 10: NEOREALIST ART VS. OPERATIC ACTING IN PASOLINI'S MAMMA ROMA; BIBLIOGRAPHY; CHAPTER 11: TRAINSPOTTING: JIŘÍ MENZEL'S CLOSELY WATCHED TRAINS; BIBLIOGRAPHY
CHAPTER 12: THOUGHT, FEELING, AND THE CINEMA OF FRANCIS FORD COPPOLA: THE RAIN PEOPLE AS EXEMPLUMBIBLIOGRAPHY; CHAPTER 13: THE FALL OF BÉATRICE, THE SALVATION OF POMME: SIMULTANEITY AND STILLNESS IN GORETTA'S THE LACEMAKER; BIBLIOGRAPHY; CHAPTER 14: WOODEN ALLEN, OR MADE IN MANHATTAN; BIBLIOGRAPHY; CHAPTER 15: MEMORIES ARE MADE OF THIS: RAINER WERNER FASSBINDER'S VERONIKA VOSS; BIBLIOGRAPHY; CHAPTER 16: CASE REOPENED: MRINAL SEN'S THE CASE IS CLOSED; BIBLIOGRAPHY; CHAPTER 17: EPIPHANIES: NANNI MORETTI'S THE MASS IS ENDED; BIBLIOGRAPHY
CHAPTER 18: COMEDIES ARE PROVERBIAL: ERIC ROHMER'S BOYFRIENDS AND GIRLFRIENDSBIBLIOGRAPHY; CHAPTER 19: FINNISH CHARACTER: AKI KAURISMÄKI'S ARIEL; BIBLIOGRAPHY; CHAPTER 20: LAW OF THE JUNGLE: IDRISSA OUÉDRAOGO'S TILAÏ; BIBLIOGRAPHY; CHAPTER 21: MARÍA NOVARO'S DANZÓN IN LIGHT OF THE CINEMA OF PEDRO ALMODÓVAR; BIBLIOGRAPHY; CHAPTER 22: WORK, FAMILY, AND POLITICS: KEN LOACH'S RIFF-RAFF; BIBLIOGRAPHY; CHAPTER 23: THE USES OF HISTORY: CHEN KAIGE'S FAREWELL, MY CONCUBINE; BIBLIOGRAPHY; CHAPTER 24: THE PRISON-HOUSE OF SEXUALITY: TOMÁS GUTIÉRREZ ALEA'S STRAWBERRY AND CHOCOLATE; BIBLIOGRAPHY
CHAPTER 25: LOWER DEPTHS, HIGHER PLANES: THE DARDENNES' LA PROMESSEBIBLIOGRAPHY; CHAPTER 26: WIND AND DUST: ABBAS KIAROSTAMI'S THE WIND WILL CARRY US; BIBLIOGRAPHY; CHAPTER 27: OF HUMAN BONDAGE AND MALE INDULGENCE: AMOS GITAI'S KADOSH; BIBLIOGRAPHY; CHAPTER 28: LATINO ART THROUGH EUROPEAN EYES, OR AGAINST THE AMERICAN EVIL EYE: BARBET SCHROEDER'S OUR LADY OF THE ASSASSINS; BIBLIOGRAPHY; CHAPTER 29: ALL ABOUT MY, YOUR, THEIR MOTHER: ANDRUCHA WADDINGTON'S ME, YOU, THEM; BIBLIOGRAPHY; CHAPTER 30: THE SPACE OF TIME, THE SOUND OF SILENCE: TSAI MING-LIANG'S WHAT TIME IS IT THERE?; BIBLIOGRAPHY
CHAPTER 6: CIRCUMSTANTIAL EVIDENCE: AKIRA KUROSAWA AND THE SEVEN SAMURAIBIBLIOGRAPHY; CHAPTER 7: THE ARTISTIC ACHIEVEMENT OF FEDERICO FELLINI: THE NIGHTS OF CABIRIA AS EXEMPLUM; BIBLIOGRAPHY; CHAPTER 8: FARCE, DREAMS, AND DESIRE: BILLY WILDER'S SOME LIKE IT HOT RE-VIEWED; BIBLIOGRAPHY; CHAPTER 9: MARRIED TO THE JOB: ERMANNO OLMI'S IL POSTO; BIBLIOGRAPHY; CHAPTER 10: NEOREALIST ART VS. OPERATIC ACTING IN PASOLINI'S MAMMA ROMA; BIBLIOGRAPHY; CHAPTER 11: TRAINSPOTTING: JIŘÍ MENZEL'S CLOSELY WATCHED TRAINS; BIBLIOGRAPHY
CHAPTER 12: THOUGHT, FEELING, AND THE CINEMA OF FRANCIS FORD COPPOLA: THE RAIN PEOPLE AS EXEMPLUMBIBLIOGRAPHY; CHAPTER 13: THE FALL OF BÉATRICE, THE SALVATION OF POMME: SIMULTANEITY AND STILLNESS IN GORETTA'S THE LACEMAKER; BIBLIOGRAPHY; CHAPTER 14: WOODEN ALLEN, OR MADE IN MANHATTAN; BIBLIOGRAPHY; CHAPTER 15: MEMORIES ARE MADE OF THIS: RAINER WERNER FASSBINDER'S VERONIKA VOSS; BIBLIOGRAPHY; CHAPTER 16: CASE REOPENED: MRINAL SEN'S THE CASE IS CLOSED; BIBLIOGRAPHY; CHAPTER 17: EPIPHANIES: NANNI MORETTI'S THE MASS IS ENDED; BIBLIOGRAPHY
CHAPTER 18: COMEDIES ARE PROVERBIAL: ERIC ROHMER'S BOYFRIENDS AND GIRLFRIENDSBIBLIOGRAPHY; CHAPTER 19: FINNISH CHARACTER: AKI KAURISMÄKI'S ARIEL; BIBLIOGRAPHY; CHAPTER 20: LAW OF THE JUNGLE: IDRISSA OUÉDRAOGO'S TILAÏ; BIBLIOGRAPHY; CHAPTER 21: MARÍA NOVARO'S DANZÓN IN LIGHT OF THE CINEMA OF PEDRO ALMODÓVAR; BIBLIOGRAPHY; CHAPTER 22: WORK, FAMILY, AND POLITICS: KEN LOACH'S RIFF-RAFF; BIBLIOGRAPHY; CHAPTER 23: THE USES OF HISTORY: CHEN KAIGE'S FAREWELL, MY CONCUBINE; BIBLIOGRAPHY; CHAPTER 24: THE PRISON-HOUSE OF SEXUALITY: TOMÁS GUTIÉRREZ ALEA'S STRAWBERRY AND CHOCOLATE; BIBLIOGRAPHY
CHAPTER 25: LOWER DEPTHS, HIGHER PLANES: THE DARDENNES' LA PROMESSEBIBLIOGRAPHY; CHAPTER 26: WIND AND DUST: ABBAS KIAROSTAMI'S THE WIND WILL CARRY US; BIBLIOGRAPHY; CHAPTER 27: OF HUMAN BONDAGE AND MALE INDULGENCE: AMOS GITAI'S KADOSH; BIBLIOGRAPHY; CHAPTER 28: LATINO ART THROUGH EUROPEAN EYES, OR AGAINST THE AMERICAN EVIL EYE: BARBET SCHROEDER'S OUR LADY OF THE ASSASSINS; BIBLIOGRAPHY; CHAPTER 29: ALL ABOUT MY, YOUR, THEIR MOTHER: ANDRUCHA WADDINGTON'S ME, YOU, THEM; BIBLIOGRAPHY; CHAPTER 30: THE SPACE OF TIME, THE SOUND OF SILENCE: TSAI MING-LIANG'S WHAT TIME IS IT THERE?; BIBLIOGRAPHY