P
Pacific Heights (1990), 49
Panofsky, Erwin, 132
Paramount decrees (1948), 81
Paratextuality, 3 . See also Intertextuality
Paredes, Marisa, 201 , 202 204
Parker, Charlie, 104
Parks, Rosa, 23
Paskalovic, Goran, 181
Pavlovic, Zivojn, 181
Peck, Gregory, 40 , 41 fig., 195 , 332
Peckinpah, Sam, 169
Peirce, Charles Sanders, 132
Peking Opera Blues (1986), 198
Pennies from Heaven (1981), 92 n3
Performance pieces:
in Valie Export's films, 221 –22, 233 n21
Persona (1966), 249 n1
Peters, Edward, 78 n3
Petria's Wreath (1980), 181
Petrovic, Alexander, 181
Pettersson, Brigitta, 166 fig.
Philadelphia Story (1940), 80
Phillips, Lou Diamond, 109
Pidgeon, Walter, 81
Pierson, Frank, 29 , 92 n6. See also A Star Is Born (1976)
Place, Mary Kay, 320
Plastic surgery:
and film remakes, 218
A Pocketful of Miracles (1961), 18 , 28 , 193
Point of No Return (1993), 29
Police Academy (1984), 192
Poltergeist (1982), 137
Poltergeist II (1986), 137
Popular culture:
cinematic allusions to, 133 –34;
as ideologically vacant, 119 , 128 n10;
mythological model of, 287 –89;
sentimentalized icons of, 324 –25;
translation of originals from, 285 –86, 288 –91
Porter, Lewis, 111 –12n1
Postergeist (1982), 168
Postmodernism:
deoedipalizing urge of, 329 ;
feminist critique of, 209 –10, 213 , 215 nn9,11;
gender presentation of, 202 , 205 –9;
hybridization characteristics of, 203 –4;
privileged masculinity of, 212 –14;
radical intertextuality of, 8 , 200 , 202
Poststudio era, 82 –83, 333 . See also Hollywood studios
Powell, Michael, 39 , 224 , 228 , 234 nn26–28
Prénom Carmen (1983, First Name Carmen ), 157
Presence/absence paradigm, 238 –39, 242 –43, 245 –46;
and perception/representation, 258
Pressburger, Emeric, 228 , 234 n28
The Pride of the Marines (1945), 104
Propp, Vladimir, 243
Psycho (1960), 29 , 35 , 67 n2, 68 n8;
as articulation of despair, 41 –42, 48 , 49 ;
Cape Fear 1962 and, 40 –41, 42 ;
doubling structure of, 43 ;
Taxi Driver and, 38 –39
Pursey, Everett, 22
Puttnam, David, 180