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  1.  32
    (1 other version)10. Books of Critical Interest Books of Critical Interest (pp. 622-631).Nancy Fraser, Peter Schwenger, Robert Morris, Bruce Holsinger, Garrett Stewart, Kate McLoughlin, Fredric Jameson, Ian Hunter & W. J. T. Mitchell - 2008 - Critical Inquiry 34 (3):543-562.
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  2.  27
    Bookwork as Demediation.Garrett Stewart - 2010 - Critical Inquiry 36 (3):410-457.
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  3.  33
    Coppola's Conrad: The Repetitions of Complicity.Garrett Stewart - 1981 - Critical Inquiry 7 (3):455-474.
    The ending of neither story [Heart of Darkness] nor film [Apocalypse Now] is confused, just bifocal. In Coppola we find writ large, for Willard as well as for us, what Conrad seems to keep from Marlowe by ironic distance: that the return to civilization from primitive haunts can never lay the ghostly image of that bestial horror lurking within us, the horror that finds such kinship, regressed beyond any ethical restraint, in the jungle's heart of darkness. It is a horror (...)
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  4. (1 other version)Counterfactual, potential, virtual: toward a philosophical cinematics.Garrett Stewart - 2014 - In Henrik Gustafsson & Asbjørn Grønstad (eds.), Cinema and Agamben: ethics, biopolitics and the moving image. New York: Bloomsbury Academic.
     
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  5. Cimnemonics vs. Digitime.Garrett Stewart - 2009 - In David Norman Rodowick (ed.), Afterimages of Gilles Deleuze's Film Philosophy. University of Minnesota Press.
     
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  6.  19
    Dickens and the Narratography of Closure.Garrett Stewart - 2008 - Critical Inquiry 34 (3):509-542.
  7. Fourth dimensions, seventh senses: the work of mind-gaming in the age of electronic reproduction.Garrett Stewart - 2014 - In Warren Buckland (ed.), Hollywood puzzle films. New York: Routledge.
     
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  8.  32
    IIBook Quirks.Garrett Stewart - 2011 - Critical Inquiry 37 (2):355-363.
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  9.  26
    Last Things First: A Reply to Sutton.Garrett Stewart - 2001 - Film-Philosophy 5 (1).
    Damian Sutton Photography and Cinema from Birth to Death _Film-Philosophy_, vol. 5 no. 8, March 2001.
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  10.  73
    Modern Hard Times: Chaplin and the Cinema of Self-Reflection.Garrett Stewart - 1976 - Critical Inquiry 3 (2):295-314.
    Charles Chaplin, like Charles Dickens, knew the deep allegiance between theme and visual symbol, and the greatest popular genius of our century, when he began a film called Modern Times with a nondescript clockface upon which the second hand inexorably spins, negotiated this alliance between satiric narrative and its props with the bold assurance of the nineteenth-century master. To have seen Modern Times again for the first time in nearly a decade, as I did recently, after in the interval having (...)
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  11. The Avoidance of Stanley Cavell.Garrett Stewart - 2005 - In Stanley Cavell & Russell B. Goodman (eds.), Contending with Stanley Cavell. New York: Oxford University Press. pp. 140--56.
     
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  12.  12
    The deed of reading: literature, writing, language, philosophy.Garrett Stewart - 2015 - London: Cornell University Press.
    Induction -- Secondary vocality -- Errands of the ear -- Imp-aired words -- Splitting the difference -- Talking room -- After wording.
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  13. (1 other version)War pictures: digital surveillance from foreign theater to homeland security front.Garrett Stewart - 2014 - In David LaRocca (ed.), The philosophy of war films. Lexington: University Press of Kentucky.
     
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