Eyal Peretz is Associate Professor at Indiana University, Bloomington. He is the author of Literature, Disaster, and the Enigma of Power: A Reading of 'Moby-Dick' (2002).

"This book's analysis of individual films are among the deepest known to me, tireless and surprising to the end, unswervingly following the experience or conviction that film, in its high instances (more numerous than a hasty glance announces) deserves the attention due to, rewarded by, a great art. If there is such a field in the offing as Film and Philosophy, Peretz's book must form a notable piece of its curriculum."—Stanley Cavell, Harvard University "Modestly framed as an attempt to lift Brian de Palma from the category of Hitchcock imitator and restore his unique vision, and as a rethinking of the function of the frame in film, Becoming Visionary opens into a brilliant speculation on cinema itself, on cinema as an apparatus of sensation. A certain mirror paradox—how can what is limited contain the reflection of what is infinitely more vast?—thus defines the method and argument of this stunning, breakaway book. Philosophy and film have never seemed more suited for mutual enlightenment than in Peretz's deft analysis." - Joan Copjec (SUNY Buffalo)

• @fmct:Contents @toc4:FOREWORD: On Eyal Peretz's Becoming Visionary BY STANLEY CAVELL000 @toc2:INTRODUCTION: THE REALM OF THE SENSES AND THE VISION OF THE BEYOND--TOWARD A NEW THINKING OF THE IMAGE000 CHAPTER ONE: CARRIE--FILM AND THE WOUNDING OF REPRESENTATION 000 CHAPTER TWO: BETWEEN PARANOIA AND PASSION--QUESTIONING THE FRAME AND THE SCREEN IN THE FURY000 CHAPTER THREE: FILM AND THE MEMORY OF THE OUTSIDE: OR, CINEMA AS TECHNOLOGY, CINEMA AS PORNOGRAPHY, CINEMA AS SCREAM--BLOW OUT 000 CODA: FOR A NEW ENLIGHTENMENT: FEMME FATALE, A PARADOXICAL HAPPY ENDING; OR, THE IDEA OF A FUTURE000 @toc4:Notes000 Index000

Eyal Peretz is Associate Professor at Indiana University, Bloomington. He is the author of Literature, Disaster, and the Enigma of Power: A Reading of 'Moby-Dick' (2002).

"This book's analysis of individual films are among the deepest known to me, tireless and surprising to the end, unswervingly following the experience or conviction that film, in its high instances (more numerous than a hasty glance announces) deserves the attention due to, rewarded by, a great art. If there is such a field in the offing as Film and Philosophy, Peretz's book must form a notable piece of its curriculum."—Stanley Cavell, Harvard University "Modestly framed as an attempt to lift Brian de Palma from the category of Hitchcock imitator and restore his unique vision, and as a rethinking of the function of the frame in film, Becoming Visionary opens into a brilliant speculation on cinema itself, on cinema as an apparatus of sensation. A certain mirror paradox—how can what is limited contain the reflection of what is infinitely more vast?—thus defines the method and argument of this stunning, breakaway book. Philosophy and film have never seemed more suited for mutual enlightenment than in Peretz's deft analysis." - Joan Copjec (SUNY Buffalo)

• @fmct:Contents @toc4:FOREWORD: On Eyal Peretz's Becoming Visionary BY STANLEY CAVELL000 @toc2:INTRODUCTION: THE REALM OF THE SENSES AND THE VISION OF THE BEYOND--TOWARD A NEW THINKING OF THE IMAGE000 CHAPTER ONE: CARRIE--FILM AND THE WOUNDING OF REPRESENTATION 000 CHAPTER TWO: BETWEEN PARANOIA AND PASSION--QUESTIONING THE FRAME AND THE SCREEN IN THE FURY000 CHAPTER THREE: FILM AND THE MEMORY OF THE OUTSIDE: OR, CINEMA AS TECHNOLOGY, CINEMA AS PORNOGRAPHY, CINEMA AS SCREAM--BLOW OUT 000 CODA: FOR A NEW ENLIGHTENMENT: FEMME FATALE, A PARADOXICAL HAPPY ENDING; OR, THE IDEA OF A FUTURE000 @toc4:Notes000 Index000

Eyal Peretz is Associate Professor at Indiana University, Bloomington. He is the author of Literature, Disaster, and the Enigma of Power: A Reading of 'Moby-Dick' (2002).

"This book's analysis of individual films are among the deepest known to me, tireless and surprising to the end, unswervingly following the experience or conviction that film, in its high instances (more numerous than a hasty glance announces) deserves the attention due to, rewarded by, a great art. If there is such a field in the offing as Film and Philosophy, Peretz's book must form a notable piece of its curriculum."—Stanley Cavell, Harvard University "Modestly framed as an attempt to lift Brian de Palma from the category of Hitchcock imitator and restore his unique vision, and as a rethinking of the function of the frame in film, Becoming Visionary opens into a brilliant speculation on cinema itself, on cinema as an apparatus of sensation. A certain mirror paradox—how can what is limited contain the reflection of what is infinitely more vast?—thus defines the method and argument of this stunning, breakaway book. Philosophy and film have never seemed more suited for mutual enlightenment than in Peretz's deft analysis." - Joan Copjec (SUNY Buffalo)

• @fmct:Contents @toc4:FOREWORD: On Eyal Peretz's Becoming Visionary BY STANLEY CAVELL000 @toc2:INTRODUCTION: THE REALM OF THE SENSES AND THE VISION OF THE BEYOND--TOWARD A NEW THINKING OF THE IMAGE000 CHAPTER ONE: CARRIE--FILM AND THE WOUNDING OF REPRESENTATION 000 CHAPTER TWO: BETWEEN PARANOIA AND PASSION--QUESTIONING THE FRAME AND THE SCREEN IN THE FURY000 CHAPTER THREE: FILM AND THE MEMORY OF THE OUTSIDE: OR, CINEMA AS TECHNOLOGY, CINEMA AS PORNOGRAPHY, CINEMA AS SCREAM--BLOW OUT 000 CODA: FOR A NEW ENLIGHTENMENT: FEMME FATALE, A PARADOXICAL HAPPY ENDING; OR, THE IDEA OF A FUTURE000 @toc4:Notes000 Index000