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though i do want to ffer some suggestions for possible exemplary scenes
epitomizing conventional hollywood-cinema emotions, i first want to note how
interesting and exciting the described project is . . . the idea of more solid
"evidence" to use in thinking through some of the by now conventional wisdom of
cinema studies promises some very useful results . . .
 
as to scenes . . . the ending of "stella dallas"; the shower scene is "psycho";
the ending of chaplin's "city lights" asll recommend themselves as moments that
even in islation (with just a bit of narrative set-up) should evoke pretty
clearly defined emotive responses . . . comedy is more trickier because not
only does one have to be able to laugh, one also has to know that the discourse
wants you to get past a level of identification WITH to a level of laughting AT
. . . the pratfall, for example, so central to slapstick, is based on a
viewer's ability NOT to feel the pain of the faller . . . so this, and i think
most comedy, will be more complex . . . also more subtle, but possible very
rich in implication, the forest ambush in bertolucci's "conformist" where we
have to be doubly horrrified, first at the physical visual specatacle of the
brutal  murder of two people, and second, at the moral horror of clerici's
refusal to respond emotionally . . . how these emotionally distanced people
respond to clerici's own emotioal distance might prove fascinating
 
mike frank  <[log in to unmask]>
 
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