@article {905,
	title = {Dance and Fetish},
	journal = {October},
	year = {2014},
	month = {Spring 2014},
	pages = {103-132},
	chapter = {103},
	abstract = {<p>Christian Metz is remembered today as having almost single-handedly transformed the culture of film studies. This widely held view was summarized by one commentator, who wrote that {\textquotedblleft}with Metz a new research paradigm is born, as well as a new generation of scholars. The ontological theories are followed by methodological theories.{\textquotedblright} According to another, {\textquotedblleft}Metz exemplified a new kind of film theorist, one who came to the field already {\textquoteleft}armed{\textquoteright} with the analytic instruments of a specific discipline, who was unapologetically academic and unconnected to the world of film criticism.{\textquotedblright} Of course, Metz didn{\textquoteright}t just surge like a meteor on the scene of film studies. His arrival was {\textquotedblleft}prepared{\textquotedblright} by the <em>filmologie</em> movement spear-headed in Paris by Gilbert Cohen-S{\'e}at and by two early film semiology essays published by Roland Barthes in <em>La Revue internationale de filmologie</em>. Yet it is Metz who is rightly remembered as the figurehead of film semiology.</p>},
	issn = {0162-2870, 1536-013X},
	doi = {10.1162/OCTO_a_00177},
	url = {http://www.mitpressjournals.org/doi/abs/10.1162/OCTO_a_00177}
}
