http://www.nytimes.com/books/98/09/27/specials/coover-end.html
Much of the novel’s alleged power is embedded in the line, that compulsory author-directed movement from the beginning of a sentence to its period, from the top of the page to the bottom, from the first page to the last.
…unlike print text, hypertext provides multiple paths between text segments… With its webs of [...]

That reality, the match of film and world, is a matter of representation, and representation in turn is a matter of discourse, of the organization of the images, the definition of the “views,” their construction. It is the discursive operations that decide the work of a film and ultimately determine the scope of the analogical [...]

…the fantasy scenarios film noir celebrates, with its protagonists fatefully entrapped in a claustrophobic world and unable to master their destinies, can just as fruitfully be understood as an example of the resonance tragic expression continues to maintain, particularly in the realm of popular cinema. Indeed, if one follows Felski’s suggestion that tragedy be thought [...]