Performance in the Cinema of Hal Hartley
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Performance in the Cinema of Hal Hartley By Steven Rawle

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55. Fuller and Hartley, “Finding the Essential”, viii.
56. Dov Kornits, “Hal Hartley—Nobody’s Fool”, efilmcritic.com, May 17, 1999, http://www.efilmcritic.com/feature.php?feature=37.
57. Justin Wyatt, “The Particularity and Peculiarity of Hal Hartley: An Interview”, Film Quarterly 52, no. 1 (1998): 4.
58. “The Art Cinema as a Mode of Practice”, in The European Cinema Reader, ed. Catherine Fowler (London: Routledge, 2002), 97.
59. The implications of this form of digital authorship are considered in more detail in chapter 6.
60. Michel Foucault, “What Is an Author?” Screen 20, no. 1 (1979): 19.
61. Sharon Marie Carnicke, “Screen Performance and Director’s Visions”, in More than a Method: Trends and Traditions in Contemporary Film Performance, ed. Cynthia Baron, Diane Carson, and Frank P. Tomasulo (Detroit: Wayne State University Press, 2004), 44.
62. Ibid., 63.
63. Doug Tomlinson, “Performance in the Films of Robert Bresson: The Aesthetics of Denial”, in More than a Method: Trends and Traditions in Contemporary Film Performance, ed. Cynthia Baron, Diane Carson, and Frank P. Tomasulo (Detroit: Wayne State University Press, 2004), 91.
64. Frank P. Tomasulo, “‘The Sounds of Silence’: Modernist Acting in Michelangelo Antonioni’s Blow-Up”, in More than a Method: Trends and Traditions in Contemporary Film Performance, ed. Cynthia Baron, Diane Carson, and Frank P. Tomasulo (Detroit: Wayne State University Press, 2004), 94–125; Robert T. Self, “Resisting Reality: Acting by Design in Robert Altman’s Nashville”, in Baron et al., eds., More than a Method, 126–150; Maria Viera, “Playing with Performance: Directorial and Acting Style in John Cassavetes’s Opening Night”, in Baron et al., eds., More than a Method, 153–172; Diane Carson, “Plain and Simple: Masculinity through John Sayles’s Lens”, in Baron et al., eds., More than a Method, 173–191; Carole Zucker, “Passionate Engagement: Performance in the Films of Neil Jordan”, in Baron et al., eds., More than a Method, 192–216.
65. Steven Rawle, “Hal Hartley and the Re-Presentation of Repetition”, Film Criticism 34, no. 1 (2009): 58–75.