Historical Excess
Johnny Guitar's Containment
Bibliographic Data
| ID | 8905192 |
|---|---|
| Authors | Leo Charney (corresponding author) |
| Year | 1990 |
| Volume | 29 |
| Issue | 4 |
| Pages | 23-23 |
| Publication date | 1990-01-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Cinema Journal (JOURNAL) |
| Journal identifiers | ISSN: 0009-7101 • E-ISSN: 1527-2087 |
| Publisher | JSTOR (PUBLISHER) |
| DOI | 10.2307/1225314 |
| OpenAlex | W2317630016 |
| Language | EN |
| Citations received | 3 |
| References cited | 1 |
Excess is endemic to film narrative. Despite the frame's symbolic effort to contain the film inside discernible boundaries, any film is fraught with aspects of simultaneity, multiplicity, and materiality that define its textual excess. The first two concepts, associated with Stephen Heath's analysis of Touch of Evil, assert that the screen always shows more action than the narrative can contain. In the novel, writes Heath
Acoustics · Art · Containment (computer programming · Guitar · Humanities · Physics · Cinema and Media Studies · Computer Science · Literature, Film, and Journalism Analysis · Theater, Performance, and Music History
| Unique citing works | 3 |
|---|---|
| Citations per year | 0,1 |
| Citation span | 1996 - 2021 (26) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 3 |