Figuring the Past

Acknowledgements

Introduction—Period Film and the Mannerist Moment
    Fragments and Figures
    An International Genre
    Mannerism: The Possibilities of a Conservative Aesthetic
Chapter 1—A Poetics of Figuration
    The Belated Moment of Mannerism
    Pastiche and the Reality Effect
    From the Figurative to the Figural
    Classical/Post-classical: Adaptation, Film Writing and the Technological Narrative
    Credits Roll: The Figure as Threshold
Chapter 2—Present in the Past: The House
    Nostalgia Interrupted: The House and its Ghosts
    Home and (Dis)Inheritance: Howards End
    The Collector and the House-Museum: The Golden Bowl and the End of Period
    Melodrama and the Descriptive Mode: The Age of Innocence
    Fidelity to the Past and the Melancholic Imagination: Woman as Ghost
    The House of Mirth or, Time and Woman
Chapter 3—Time and the Image: The Tableau
    Still Images/Moving Narratives: The Tableau Effect
    The Shot-Tableau: From Pregnant Moment to Hieroglyph
    The Portrait as Fetish
    Portraits and Tableaux in the Feminist Imagination
    Deframings: The Portrait of a Lady
    Double-Framing the Mythologies of the Female Artist: Artemisia
    Vision, Blindness and the Displacement of Trauma
    The Governess or, the Women in Camera
Chapter 4—The Scene of Writing: The Letter
    Textual Erotics: Reading the Letter as Object and Figure
    The Letter that Arrives Too Late: Figuration and Melodramatic Temporality
    Letters and Spatial Displacement
    The Love Letter and the Queer Encounter: Onegin
    Imaginary Landscapes of Loss: To Those Who Love
    Truncated Narratives, Textual Possibilities: Atonement and the Interrupted Histories of the European Period Film
Conclusion—Second Sight: Reviewing the Past, Figuring the Present

Notes
Bibliography
Index of Film Titles
Index of Names and Subjects