The Soul of Film Theory
In this innovative book, Sarah Cooper revisits the history of film theory in order to bring to the fore the neglected concept of the soul and to trace its changing fortunes. The Soul of Film Theory charts the legacy of this multi-faceted, contested term,
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The Soul of Film Theory Sarah Cooper King’s College London, UK
© Sarah Cooper 2013 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted her right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2013 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries.
ISBN 978-1-349-34943-2 DOI 10.1057/9781137328588
ISBN 978-1-137-32858-8 (eBook)
This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. A catalogue record for this book is available from the British Library. A catalog record for this book is available from the Library of Congress.
In modernity, soul is now chiefly figured by its absence. Marina Warner
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Contents
List of Plates
viii
Acknowledgements
ix
Introduction: The Soul of Film Theory
1
1 Classical Souls
23
2 Signifying Souls
68
3 Body and Soul
108
Concluding Remarks
152
Notes
156
Bibliography
188
Films Cited
202
Index
204
vii
Plates The plate section is located between pp. 107 and 108 1 2–5 6–7 8–9 10 11 12 13 14–15 16
Victor Sjöström, The Phantom Carriage (1921) Jean Epstein, Cœur fidèle (1923) D. W. Griffith, Broken Blossoms (1919) G. W. Pabst, Secrets of a Soul (1926) Carl Theodor Dreyer, The Passion of Joan of Arc (1928) Sergei Eisenstein, Ivan the Terrible: Part 1 (1944) Robert Bresson, Diary of a Country Priest (1951) Andrey Tarkovsky, Mirror (1975) Claire Denis, The Intruder (2004) Jean-Pierre and Luc Dardenne, The Son (2002)
viii
Acknowledgements
I first began thinking about the place of the soul in film theory when preparing to teach my first classes in classical film theory at King’s College London (KCL). Over the years, the KCL undergraduate and graduate students I have taught and supervi
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