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This book explores the ideas of the neglected English aesthetician
and art historian, Adrian Stokes. Stokes's Kleinian-based concepts
of carving and modelling are analyzed in relation to film, arguing
that they replace the traditional notions of realism and montage in
film theory and provide a set of aesthetics which encompasses
mainstream and "art" cinema. This Kleinian psychoanalytic approach
is applied to the films of Eisenstein, Rossellini, Hitchcock and
others.
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