Folder 211: Contents from Whole Foods Paper bag labeled “Fiction,” Folder 4 of 5, 1971-2005

Typed notes; “Notes on Welles from Naremore, The Magic World of Orson Welles ” annotated, with unrelated notes on reverse of last sheet

Handout; “Romance and Capitalism and the Movies”

Clipped set of handwritten notes; “What constitutes a film genre? What are the prerequisites or preconditions for a film genre? … ”

Clipped set of handwritten notes; “Fantasy/reportage on 1st 12 min. …”

Handout; “Dr. Mabuse, der Spielier…” 2 copies

Handwritten notes; “Friday’s class…”

Article; The Fathers Watch The Boys’ Room by Sharon Wills from Camera Obscura 32 (Sep-Jan 93-94), 40, original

See also folder 209 for additional copy

Photocopied excerpt; Romance and Capitalism at the Movies by Joan Jaffe Hall, Alice Jones Books, 1985

Clipped set of handwritten notes; “Notes from Bordwell, 517-31”

Handout; “This plot synopsis…should help you to make quick sense out of a film clip I’ll be showing on the day of your midterm exam…” 2 copies

Handwritten notes; “From the studio system to the independents…”

Clipped set of handwritten and typewritten notes; “The New Hollywood…”

Handwritten notes; “You do the shit, I do the sound…”

Handwritten notes on “scrap” paper; “Point out how much…”

Stapled packet of handwritten notes; “Nondigetic music…”

Handwritten notes; “New notes on Body Heat…”

Handwritten notes on “scrap” paper; “think of it as a set of filters…”

Article; Blow Out by Robin Wood from Hollywood from Vietnam to Regan, New York, Columbia University Press, 1986, 154, 2 copies, 1 annotated by Pfeil

Handwritten notes on film; “Credits over orange smoke/fade to hurt LS from…”

Article; The Fathers Watch The Boys’ Room by Sharon Wills from Camera Obscura 32 (Sep-Jan 93-94), 40, heavily annotated by Pfeil

See above for original

See also folder 209 for additional copy

Printout of email to Pfeil on November 30, 2004 re: “Tarantino piece…” article “The Movie Lover” by Larissa Macfarquhar follows

Article; The Art Film Market in the New Hollywood by Tino Balio from Hollywood and Europe: Economics, Culture, National Identity, 1945-95, Geoffrey Nowell-Smith, Steven Ricci, eds, London, BFI Publishing, 1998, 63

Handwritten notes on “scrap” paper; “Jackie Brown…”

Handout; passage by Laura Mulvey, “’New Wave’ interchanges: Celine and Julie and Desperately Seeking Susan” in Geoffrey Nowell-Smith and Steven Ricci, eds., Hollywood and Europe: Economics Culture, National Identity, 1945-95 (London, BFI Publishing, 1998), 2 copies

Handwritten notes from film; “DSSusan…”

Article; Hardware and Hardbodies, What do Women Want?: A Reading of Thelma and Louise by Sharon Willis from Jim Collins, et, al. eds., Film Theory Goes to the Movies, New York and London, Routledge, 1993, 2 copies

Printout of course reserves for “English 265: Introduction to Film Studies” from Fall of 2004

Syllabus; “English 265: Introduction to Film Studies,” Fall, 2005

Handwritten notes on Film; “Dirty Harry (1971)…”

Photocopy of flowchart; “The National Entertainment State,” pink paper, 2 copies

Student paper; “Rebel Without a Cause,” author anonymous

Clipped set of handwritten notes on film; “GI” and “GII” [Godfather I and Godfather II]

Annotated list of films covering the years 1948-1958 photocopied from unknown book Article; Nicholas Ray by Jonathan Rosenbaum from Film Comment, 27, 5 (Sept-Oct 91), 44-49, 50

Article; Filming of Rebel Without a Cause by John Frances Kreidll from Nicholas Ray Boston, Tweyne Publishing, 1977; 119

Student paper; “Rebel without a Cause: An Auteur film” by Elizabeth Friary

Typewritten notes; “Notes from Polan’s In a Lonely Place ”

Handwritten notes; “Nicholas Ray…”

Handwritten notes; note on reverse “Extra Class”

Handwritten notes on “scrap” paper; “Continuity Editing…”

Handwritten notes on “scrap” paper; “The Classical Hollywood Style…”

Photocopy of partial article; “…The emerging classical Hollywood style…”

Handwritten notes; “Correct last night’s Hecht’s story…”

Typewritten notes; “Apologies re dissolve/fade…”

Handwritten notes; “Continuity script…”

Article; In a Lonely Place by Dana Polan, London, British Film Institute Publishing, 1993, annotated by Pfeil with notes on rear page