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<p/><br></br><p><b> Book Synopsis </b></p></br></br>Part I: Film Studies and Its Problems.<br>1. Movie vs. Screen: The Great Divide in Film Studies.2. The Automatic <i>Auteur</i>, or, A Certain Tendency in Film Criticism.<br>Part II: Cinephilia, Cavell, and Description-as-Method.<br>3. Cinephilia and Method.4. Cavell, Thoreau, and the Movies.<br>Part III: Movie Star Performance.<br>5. The Mystery of Movie Stardom.6. <i>Vertigo</i>: Why Doesn't Scottie Recognize "Madeleine"?.7. Notes on Fred Astaire.- Part IV: Memory Theaters.8. Memory Theaters: <i>Casablanca</i> and <i>Breathless.</i><br>Part V: The Structure of Complex Images.<br>9. The Cukor "Problem" <i>David Copperfield, Holiday</i>, and<i> The Philadelphia Story.</i>10. The Structure of Complex Images: Abbas Kiarostami's <i>Tickets</i>.<p/><br></br><p><b> About the Author </b></p></br></br><p>Robert B. Ray is Professor of English at the University of Florida, USA. He is the author of <i>A Certain Tendency of the Hollywood Cinema: 1930-1980</i>, <i>The Avant-Garde Finds Andy Hardy</i>, <i>How a Film Theory Got Lost and Other Mysteries in Cultural Studies, The ABCs of Classic Hollywood, and Walden X 40.</i> He is also a member of The Vulgar Boatmen, whose records include <i>You and Your Sister, Please Panic, Opposite Sex, </i> and <i>Wide Awake.</i></p><p><br></p>

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