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Classical Projections


The Practice and Politics of Film Quotation

Eleni Palis

27 May 2022

ISBN: 9780197558188

176 pages

In Stock

Price: £29.99


How does post-classical cinema visualize its awareness of coming after a "classical" or "golden age"? How do post-classical filmmakers claim or disavow classical history? How do historically disenfranchised post-classical filmmakers, whether by gender, sexuality, or race, grapple with exclusionary and stereotype-ridden canons? Classical Projections offers a new way of seeing quotations of films within other films.

  • The first book on quotation and quotational aesthetics on film
  • Illuminates intersection around quotational aesthetics between film studies and literary studies
  • Interrogates how film archives and film making have interacted
  • Unpacks how movies create meaning, history, archive, and memory
  • Offers a new angle on ever-more prominent debates about canons, archives, and inclusion in mainstream American cinema

About the Author(s)

Eleni Palis, Assistant Professor of English, University of Tennessee - Knoxville

Eleni Palis is an assistant professor of English and Cinema Studies at the University of Tennessee. Her work has appeared in Screen, The Journal of Cinema and Media Studies (Cinema Journal), [in]Transition: Journal of Videographic Film and Moving Image Studies, and Oxford Bibliographies Online.

Table of Contents

    Chapter 1: "Quoting Genre and Creating Canon"
    Chapter 2: "Film Quotation and the Oppositional Gaze"
    Chapter 3: "'D-I-Y' Quotation and Created Appropriation"
    Chapter 4: "Film Quotation and Visual Sovereignty"
    Chapter 5: "Film Quotation, Foreign and Domestic"
    Chapter 6: "Cinephilic Pilgrimage and Authorial Scandal"
    Annotated Appendix


"This book's solidly interdisciplinary framing sustains richly detailed research and analysis. It will speak to broad audiences across film, media, and cultural studies, as well as gender and women's studies and critical race theory. Palis's analysis takes the most subtle and incisive type of approach to questions of both the canon and authorship. Her argument bypasses more traditional, additive or inclusive canon 'revision' in favor of a radical reshaping, reframing, and re-contextualizing of the canonical history of U.S. cinema since the 'New Hollywood." - Sharon Willis, Professor of Art History and Visual and Cultural Studies, University of Rochester