Contents -- Acknowledgements -- 1. Films, Audiences and Analyses -- Why Bother Analysing Films? -- The Embedded Audience -- It's a Wonderful Assumption -- Conclusion -- Notes 1-20 -- 21-36 -- 37 -- 2. Formalism and the Implied Audience -- The Formalist Tradition -- Expanding from Formalism -- Reader Response Criticism -- The Implied Audience - a Formal Definition -- How This Book Is Organised, Henceforth -- Notes 1-15 -- 16-20 -- 3. Usual Suspects, Unusual Devices -- Analytic Description -- Preliminary Analysis -- How Is Understanding The Usual Suspects Possible? -- Zooming In -- Conclusion -- Note 1 -- 2-6 -- 4. 'An Ant With Ideas . . .' -- Analytic Description -- Preliminary Analysis -- Zooming In -- Conclusion -- Note 1 -- 2-13 -- 14-15 -- 5. Titanic: A Knight to Remember -- Analytic Description -- Preliminary Analysis -- Zooming In -- Conclusion -- Notes 1-9 -- 6. In the Jungle, the Mighty Jungle -- Analytic Description -- Preliminary Analysis -- Zooming In -- A Bad Case of the Hyenas -- The Implied Audience -- Notes 1-11 -- 12-13 -- 7. 'Like Food Processors, But Nasty' -- Analytic Description -- Preliminary Analysis -- Zooming In -- The Implied Audience -- Notes 1-8 -- 9-12 -- 8. Dear Meg, Dearest Tom -- Analytic Description -- Preliminary Analysis -- Zooming In ( 1) -- Zooming In ( 2) -- The Implied Audience -- Notes 1-10 -- 11-17 -- 9. A Very Deep Impact -- Analytic Description -- Preliminary Analysis -- Zooming In ( 1) -- Zooming In ( 2) -- Zooming In ( 3) -- The Moral Meanings of Effects -- Deep Impact and the Disaster Tradition -- Notes 1-4 -- 5-14 -- 15-21 -- 10. Showing That It Is What It Is -- Testing, Testing -- Some Criteria for Evaluating Textual Analyses -- Staging Stagecoach -- Post-analysis -- Susan Sontag's Critique -- Naming and Shamaning -- Notes 1-15 -- 16-30 -- 31-33 -- Notes -- Chapter 1. Films, Audiences and Analyses.

Chapter 2. Formalism and the Implied Audience -- Chapter 3. Usual Suspects, Unusual Devices -- Chapter 4. An Ant With Ideas -- Chapter 5. -- : A Knight to Remember -- Chapter 6. In the Jungle, the Mighty Jungle -- Chapter 7. Like Food Processors, But Nasty -- Chapter 8. Dear Meg, Dearest Tom -- Chapter 9. A Very Deep Impact -- Chapter 10. Showing That It Is What It Is -- Bibliography -- Filmography -- Index -- Aesthetic responses -- 31 -- 48 -- 188 -- 191 -- 193 -- Affair to Remember, An -- 141-2 -- 148 -- Alien -- 30 -- 129 -- Aliens 88 -- All Quiet on the Western Front 181 -- All the President's Men 164 -- Altman, Rick -- 156 -- 173 -- 177-8 -- 206n -- 208n -- Ang, Ien 204n -- Antz -- 72-86 -- 199n -- Armageddon 155-6 -- Audience -- Embedded/implicit 3 -- Embedded/implicit 5-31 -- Embedded/implicit 180-1 -- Empirical research 49 -- Empirical research 49 -- Empirical research 175 -- Empirical research 175 -- Empirical research 187 -- Empirical research 187 -- Empirical research 190 -- Empirical research 190 -- Awful Truth, The 137 -- Babington, Bruce 204n -- Baker, Robin -- 83 -- 200n -- Baker, Steve 202n -- Basic Instinct 120 -- Berger, John -- 47-8 -- 129 -- 198n -- 204n -- Bigger Than Life 16 -- Birth of a Nation, The 189 -- Blade Runner 201n -- Blair Witch Project, The -- 181 -- 195n -- Bondebjerg, Ib 206n -- Booth, Wayne -- 42-4 -- 46 -- 197n -- Bordwell, David -- 11-13 -- 15-16 -- 20 -- 29 -- 32 -- 34 -- Bourdieu, Pierre 35 -- British Board of Film Classification 9 -- Browne, Kevin -- 9-11 -- 195n -- Browne, Nick -- 183-6 -- 208n -- Bryman, Alan -- 106 -- 202n -- Buckland, Warren -- 180 -- 183 -- 201n -- 207n -- 208n -- Bug's Life, A -- 72 -- 80 -- 199n -- Byrne, Eleanor -- 202n -- 209n -- Cannibal Holocaust -- 10 -- 195n -- Capra, Frank 15-29 -- Carroll, Noel 207n -- Cavell, Stanley 22 -- Christie, Ian -- 137-8 -- 197n.

Cognitive processes -- 11-13 -- 30-1 -- 34 -- 36 -- 40 -- 70 -- Cueing 11-13 -- Cueing 34 -- Cueing 39 -- Cueing 48 -- Cueing 137 -- Cueing 144 -- Knowledge, Hierarchies of 19-20 -- Knowledge, Hierarchies of 19-20 -- Knowledge, Hierarchies of 28 -- Knowledge, Hierarchies of 28 -- Knowledge, Hierarchies of 99 -- Knowledge, Hierarchies of 99 -- Knowledge, Hierarchies of 113 -- Knowledge, Hierarchies of 113 -- Knowledge, Hierarchies of 116 -- Knowledge, Hierarchies of 116 -- Knowledge, Hierarchies of 149 -- Knowledge, Hierarchies of 149 -- Cormack, Mike -- 181-2 -- 208n -- Corner, John 197n -- Crash -- 41 -- 176 -- 189 -- 208n -- Culler, Jonathan -- 45 -- 197n -- Dante's Peak 155 -- Darnton, Robert 208n -- Davis, Mike 205n -- Deep Impact -- 155-73 -- 205n -- 206n -- Defamiliarisation -- 33 -- 36 -- 58 -- 192 -- Deleyto, Celestino 204n -- Devil's Island, The 38 -- Die Hard 156 -- Dirth Dozen, The -- 142 -- 148 -- Disaster films -- 155-6 -- 163 -- 172-3 -- Disney -- 72 -- 105-6 -- 115 -- 118 -- 189 -- Dorfman, Ariel 204n -- Dostoyevsky, Feodor 44 -- Double Indemnity 6 -- DreamWorks -- 72 -- 156 -- Driller Killer 11 -- Dyer, Richard -- 3 -- 118 -- 195n -- 203n -- 205n -- Effects tradition -- 3 -- 9-11 -- 13 -- Eikhenbaum, Boris -- 32 -- 37-8 -- 39 -- Elley, Derek 201n -- Emotional responses -- 13 -- 28 -- 29 -- 30-1 -- 32 -- 34-5 -- Evans, Peter William -- 204n -- 205n -- Falling Down 117 -- Fascism -- 120-2 -- 133 -- Fatal Attraction 143 -- Few Good Men, A 77 -- Film noir -- 6 -- 154 -- Formalism/Neo-Formalism -- 32-41 -- 45 -- 53 -- 192 -- 198n -- Forrest Gump 145 -- Franklin, John Hope 209n -- Gabriel, John 203n -- Gauntlett, David 195n -- Genre -- 34 -- 129 -- 133 -- 163-4 -- Gilbert, James 203n -- Girgus, Sam -- 15 -- 25-9 -- 196n -- Gledhill, Christine 205n -- Gone with the Wind 88 -- Goodman, Nelson 34 -- Grease 78.

Hainsworth, J. B. 201n -- Heard, Christopher 201n -- Heinlein, Robert -- 120-1 -- 203n -- Howells, Richard -- 87 -- 201n -- Hunt, Susan 209n -- Identification -- 4 -- 13-20 -- 116 -- 179 -- 184-6 -- Ideology -- 4 -- 8 -- 21 -- 29-30 -- 119 -- 165 -- Imaginative universe -- 33 -- 37 -- 55 -- 152-3 -- 175 -- 193 -- Implied audience -- Formal definition 48-9 -- Role of 37 -- Role of 37 -- Role of 39 -- Role of 39 -- Role of 41 -- Role of 41 -- Role of 55 -- Role of 55 -- Role of 57-8 -- Role of 57-8 -- Role of 63-71 -- Role of 63-71 -- Independence Day -- 81 -- 83 -- 200n -- Indiana Jones and the Temple of Doom 13-15 -- Ingarten, Roman 45 -- Iser, Wolfgang -- 45-7 -- 197n -- It Started with a Kiss 136 -- It's a Wonderful Life 15-29 -- Jaws 206n -- Jazz Singer, The 182-6 -- Jeffords, Susan 205n -- Johnson, Claire 199n -- Judge Dredd -- 29 -- 121 -- 187 -- 189 -- Jurassic Park 36 -- Karnick, Kristine -- 137 -- 204n -- Kavanagh, James -- 30 -- 196n -- Kellner, Douglas -- 7-8 -- 10 -- 195n -- King, Barry -- 146 -- 205n -- Kramer, Peter -- 106 -- 113 -- 202n -- 204n -- 206n -- Krutnik, Frank -- 135-7 -- 204n -- Landon, Brooks -- 84 -- 200n -- Laura 34 -- LaValley, Albert J. -- 82-3 -- 200n -- Lewis, Justin 199n -- Lion King, The -- 105-19 -- 194 -- 202n -- Little Big Man 36 -- Matrix, The 198n -- Mattelart, Armand 204n -- McDonald, Paul 195n -- McQuillan, Martin -- 202n -- 209n -- Moby Dick 161 -- Modality of response -- 55 -- 79 -- 81 -- 118 -- 154 -- Modern Times 73 -- Modleski, Tania -- 202n -- 204n -- Morley, David 188 -- Mulvey, Laura -- 6 -- 195n -- Narration -- 21 -- 44 -- 48 -- 54 -- 57-8 -- 100 -- Narrative components -- 47 -- 49 -- 53 -- 144 -- 198n -- Narrative retellings -- 49-53 -- 54 -- 58-63 -- 73-6 -- Nash, Melanie 209n -- Natural Born Killers -- 11 -- 176 -- 198n -- Neale, Steve -- 83 -- 135-7 -- 153-4 -- 200n -- 204n.

Negra, Diane 205n -- Newman, Kim 205n -- Old San Francisco 182 -- Out for Justice 10 -- Parallax View, The 164 -- Parisi, Paula 201n -- Pateman, Trevor 199n -- Patton 77 -- Peacemaker, The 72 -- Pierson, Michelle -- 201n -- 207n -- Place, Janey -- 6 -- 8 -- 195n -- Poague, Leland -- 15 -- 17 -- 19 -- 21 -- 22-5 -- 196n -- Pro-filmic theory 193-4 -- Psychoanalysis -- 6 -- 13-15 -- 17-20 -- 29-30 -- 34 -- Public Access -- 50 -- 56 -- Pulp Fiction 78 -- Purdie, Susan 204n -- Rabinowitz, Howard 206n -- Rabinowitz, Peter -- 44 -- 197n -- Radway, Janice 204n -- Raiders of the Lost Ark 180 -- Rambo -- 10 -- 11 -- Ray, Robert B. -- 15 -- 17 -- 20-2 -- 27 -- 30-1 -- 196n -- Reader-response criticism 42-8 -- Rear Window -- 12-13 -- 179 -- Rebel Without a Cause 120 -- Reds -- 36 -- 183 -- Representation -- 53-4 -- 116-17 -- 147 -- 191 -- Ricoeur, Paul 198n -- Robocop -- 85 -- 120-1 -- Rocky 11 -- Roddick, Nick 206n -- Rogin, Michael -- 83-4 -- 198n -- 200n -- 209n -- Romance 176 -- Romantic comedy 134-7 -- Rowe, Kathleen 204n -- Ruthrof, Horst 197n -- Sammon, Paul M. 203n -- Sandler, Kevin S 201n -- Saved from the Titanic 87 -- Saving Private Ryan 11 -- Schindler's List -- 10 -- 36 -- Schlovsky, Victor 32 -- Sensory response -- 31 -- 48 -- 190-2 -- 193 -- Show of Shows 182 -- Showgirls 120 -- Silverman, Kaja -- 15 -- 17-20 -- 22 -- 25 -- 196n -- Silverstone, Roger 210n -- Simpsons, The 200n -- Sleepless in Seattle -- 134-54 -- 196n -- 204n -- Small Soldiers 80 -- Snitow, Ann 204n -- Sontag, Susan -- 190-2 -- 193 -- 209n -- Sound of Music, The 88 -- Sound, Components of -- 59 -- 68 -- 91 -- 110-11 -- 118 -- 144 -- Special effects -- 68 -- 72 -- 77 -- 80-2 -- 103-4 -- 120 -- Spignesi, Stephen J 201n -- Spillane, Mickey 43 -- Stage Fright 57 -- Stagecoach 183-6 -- Staiger, Janet -- 32 -- 34 -- 209n -- Star Wars -- 7-8 -- 76 -- 79 -- 83 -- 88 -- 124 -- Stars.

2-3.