In Sidney Lumet’s Serpico and Dog Day Afternoon characters “behave like windscreen wipers” (p208).
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The cinema covered in the book ranges from the silent era to the 1970s, and includes the work of D. W. Griffith, Abel Gance, Erich von Stroheim, Charlie Chaplin, Sergei Eisenstein, Luis Buñuel, Howard Hawks, Robert Bresson, Jean-Luc Godard, Sidney Lumet and Robert Altman.
Cinema of India | International Red Cross and Red Crescent Movement | Cinema of Germany | Cinema of the United Kingdom | Tamil cinema | Non-Aligned Movement | Cinema of the United States | Cinema of France | cinema | Malayalam cinema | New Line Cinema | Image Comics | Union for a Popular Movement | Spitting Image | Cinema of West Bengal | Cinema of Karnataka | Arts and Crafts movement | Marathi cinema | Oxford Movement | Indian independence movement | White movement | Star Cinema | Temperance movement | Movement for Democratic Change | Cinema of Hong Kong | Polish resistance movement in World War II | Latter Day Saint movement | Cinema of Italy | Two Door Cinema Club | Telugu cinema |
Nonetheless, decades later, in Cinéma I and Cinema II (1983–1985), the philosopher Gilles Deleuze took Matter and Memory as the basis of his philosophy of film and revisited Bergson's concepts, combining them with the semiotics of Charles Sanders Peirce.