Acknowledgments
Preface
Introduction: How John the Baptist Kept His Head, or My Life in Film Philosophy
Part I. A Philosophical Perspective
1. Why Not Realize Your World? William Rothman interviewed by Jeffrey Crouse
2. Silence and Stasis
3. Film and Modernity
4. André Bazin as Cavellian Realist
5. What Becomes of the Camera in the World on Film?
Part II. Studies in Criticism
6. "I Never Thought I Should Sink So Low as to Become an Actor": John Barrymore in Twentieth Century
7. "I Look Up, I Look Down": James Stewart in Vertigo
8. Hats Off for George Cukor!
9. Woody Allen's New York
10. Blood is Thicker than Water: The Family in Hitchcock
11. Space and Speech in the Films of Yasujiro¯ Ozu
12. Romance, Eroticism, and the Camera's Gaze in Jean Genet's Un Chant d'amour
13. Face to Face with Chantal Akerman
14. Precious Memories in Philosophy and Film
15. Seeing the Light in The Tree of Life
16. A Film That Is Also a Handshake: Philosophy in the Films of the Dardenne Brothers
17. Justifying Justified
18. Documentary Film in Boston in the 1970s and 1980s
19. Sometimes Daddies Don't Talk about Things Like That: Ross McElwee's Bright Leaves
20. Jean Rouch as Film Artist: Turu and Bitti, Funeral at Bongo: The Old Anaï (1848-1972), Ambara Dama
21. Dancing with Gardner: Robert Gardner's Films on Art
22. Dead Birds Re-Encountered: A Journey of Return
Notes
References
Index

William Rothman is Professor of Cinema and Interactive Media at the University of Miami. His previous books include, as author, Hitchcock: The Murderous Gaze; as editor, Cavell on Film and Three Documentary Filmmakers: Errol Morris, Ross McElwee, and Jean Rouch; and as coeditor, with Rebecca Meyers and Charles Warren, Looking with Robert Gardner, all published by SUNY Press.