A copy of this work was available on the public web and has been preserved in the Wayback Machine. The capture dates from 2020; you can also visit the original URL.
The file type is
I first encountered the work of Miriam Hansen as a graduate student in the mid-1990s when her book BABEL AND BABYLON was the talk of the (at that time still fairly modest) film studies town – even though it was sitting somewhat uneasily on the fence. In fact, it was this position beyond the canonical that made the book so attractive in the first place. It did not fit into the raging debate of that time between psychosemiotics and neo-formalism, nor did it offer the (often too schematic anddoi:10.25969/mediarep/15066 fatcat:6laknkuq2fg45jguih2y436dlu