Title: Within the moral eye
Full Citation
Permanent Link: http://ufdc.ufl.edu/UF00099590/00001
 Material Information
Title: Within the moral eye -- Peckinpah's art of visual narration
Alternate Title: Peckinpah's art of visual narration
Physical Description: vii, 183 leaves : ; 28 cm.
Language: English
Creator: Marshall, Susan Elaine, 1948- ( Dissertant )
Robinson, William ( Thesis advisor )
Bredahl, A. Carl ( Reviewer )
Conroy, Stephen S. ( Reviewer )
Brantley, Richard A. ( Reviewer )
Nelson, Marie ( Reviewer )
Publisher: University of Florida
Place of Publication: Gainesville, Fla.
Publication Date: 1984
Subjects / Keywords: The Wild bunch (Motion picture)   ( lcsh )
The Ballad of Cable Hogue (Motion picture)   ( lcsh )
Convoy (Motion picture)   ( lcsh )
English thesis Ph. D
Ballad of Cable Hogue (Motion picture)
Wild Bunch (Motion picture)
Dissertations, Academic -- English -- UF
Peckinpah, Sam -- 1926- -- Criticism and interpretation
Genre: bibliography   ( marcgt )
non-fiction   ( marcgt )
Abstract: This study explores the new species of morality that Sam Peckinpah's cinematic imagination creates in The Wild Bunch , The Ballad of Cable Hogue, and Convoy in its interaction with the moving color image. The new morality appears most prominently in the process of growth— a three-phase "moral advance"—that emerges both within the movies, and from one to the next. This new morality is not a structure imposed upon the narrative, but an inherent method that arises with and in the concrete acts of the movies' images. In its largest dimension, the birth of the new morality in Peckinpah's movies enacts the transformation from a morality of words to a morality of images, or from literary to cinematic art. Structurally, the study proceeds from the earliest to the latest of the three movies. Chapter One shows how Peckinpah's imagination, working through the narrative act of "shooting out," comes to dispose of the Bunch's characterization as killers and to see them as new images valued for their powers of transition. The chapter further seeks to elucidate the difficulties that the imaginative camera eye encounters in shedding the constraints of historical and documentary narration implicit within the movie's opening black and white still-shot. Chapter Two shows how Peckinpah shifts his focus from the male "bunch" to the individual, and brings forward the transforming potential within the female image. Through the moral encounter with Hildy's image, Cable evolves his individual human worth; and the camera eye, imagining Cable's story as a traditionally verbal form—"The Ballad"—comes to release Cable's visual powers, and in the process expose the limits of his humanistic character. Centering the cinematic eye's inherent powers of action as they are evolved within Convoy , Chapter Three works out the concrete process through which the movie brings into view a new universe of images. The chapter proceeds, through the movie's narrative act of "convoying," to perform the transformation out of the old divisive morality promoted by Lyle and the "voice of reason," and into the new visual morality—apparent in the image of Rubber Duck—that the movies, as narrative art, enact.
Thesis: Thesis (Ph. D.)--University of Florida, 1984.
Bibliography: Bibliography: leaves 179-182.
Statement of Responsibility: by Susan Elaine Marshall.
General Note: Typescript.
General Note: Vita.
General Note: This copy is wanting leaf 182.
 Record Information
Bibliographic ID: UF00099590
Volume ID: VID00001
Source Institution: University of Florida
Holding Location: University of Florida
Rights Management: All rights reserved by the source institution and holding location.
Resource Identifier: alephbibnum - 000491155
oclc - 11942596
notis - ACQ9657


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