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Christopher Blake Evernden, Cynthia A. Freeland, Thomas Schatz, and Frank P. Tomasulo

elsewhere over the following decade—not to mention the auteurism of the Cahiers du cinéma critics (and eventual New Wave cineastes). Bordwell devotes one of his later interludes to “Remaking Middlebrow Modernism,” for instance, and the last substantive

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The Richness of a Narrative Arrest

Performance and Scenic Composition in the Cinema of William Wyler

Johannes Riis

couple's conflict over money in Funny Girl , a focused arrest takes its place in the name of suspense. In a study of 1940s film culture, David Bordwell notes how Mrs. Miniver and The Best Years of Our Lives represented the period's middle-brow cinema