tag:blogger.com,1999:blog-23197370451979963952023-11-15T09:00:56.303-08:00PostscriptPostscript Editorhttp://www.blogger.com/profile/15500916931020851859noreply@blogger.comBlogger15125tag:blogger.com,1999:blog-2319737045197996395.post-16302580174296481502008-08-12T19:27:00.000-07:002008-08-12T19:32:24.756-07:00Recent IssuesPostscript Editorhttp://www.blogger.com/profile/15500916931020851859noreply@blogger.comtag:blogger.com,1999:blog-2319737045197996395.post-72016099727318115872008-08-12T19:26:00.000-07:002008-08-12T19:40:28.260-07:00Interviews<span style="font-size:180%;">INTERVIEWS</span><br /><br />Braudy, Leo and Robert P. Kolker. "Robert Altman: An Interview, Part<br />I." 1.1 (Fall 1981): 2-7.<br /><br />---. "Robert Altman: An Interview, Part II." 1.2 (Winter 1982): 2-14.<br /><br />Braudy, Leo and Mark Crispin Miller. "Sydney Pollack: An Interview."<br />3.1 (Fall 1983): 2-18.<br /><br />Davis, Mitch. “Living is a Selfish Act: An Interview with Gaspar Noé.”<br />21.3 (Summer 2002): 122-130.<br /><br />Dixon, Wheeler. "Roger Corman: An Interview." 8.1 (Fall 1988): 2-15.<br /><br />---. “No More Excuses: An Interview with Robert Downey, Sr.” 21.1<br />(Fall 2001): 3-13.<br /><br />---. “Jamie Babbit: An Interview.” 21.1 (Fall 2001): 14-23.<br /><br />---. “‘The Golden Years’: An Interview with Ronald Neame.” 23.2<br />(Winter/Spring 2004): 3-18.<br /><br />---. “Bennett Miller: An Interview.” 26.1 (Fall 2006): 3-12.<br /><br />Duchovnay, Gerald. "Don Bluth: An Interview." 1.3 (Spring/Summer<br />1982): 2-17.<br /><br />---. "Tony Buba: An Interview." 9.1 & 2 (Fall 1989/Winter 1990): 2-24.<br /><br />Ehrlich, Linda and Shibagaki Akiko "Miyagawa Kazuo: My Life as a<br />Cameraman." 11.1 (Fall 1991): 5-19.<br /><br />Foster, Gwendolyn Audrey. "Barbara Hammer, an Interview:<br />Re/Constructing Lesbian Auto/Biographies in Tender Fictions<br />and Nitratre Kisses." 16.3 (Summer 1997): 3-16.<br /><br />Francavilla, Joseph V. "Ellison Wonderland: Harlan Ellison<br />Interviewed." 10.1 (Fall 1990): 9-20.<br /><br />Friedman, Lester and Scott Stewart. "Keeping His Own Voice: An<br />Interview with Stephen Frears." 11.3 (Summer 1992): 3-18.<br /><br />Gentry, Ric. "Ken Russell: An Interview." 2.3 (Spring/Summer 1983):<br />2-23.<br /><br />---. "Vittorio Storaro: An Interview, Part I." 4.1 (Fall 1984): 2-17.<br /><br />---. "Vittorio Storaro: An Interview, Part II." 4.2 (Winter 1985): 2-18.<br /><br />---. "William Friedkin, An Interview, Part I." 5.3 (Spring/<br />1986): 2-20.<br /><br />---. "William Friedkin: An Interview, Part II." 6.1 (Fall 1986): 76-91.<br /><br />---. "Francis Coppola: An Interview." 6.3 (Spring/Summer 1987): 2-12.<br /><br />---. "Francis Coppola: An Interview (Part II)." 8.1 (Fall 1988): 52-63.<br /><br />---. "Jack N. Green: An Interview." 8.2 (Winter 1989): 2-20.<br /><br />---. "Dean Semler, Cinematographer: An Interview." 9.3 (Summer<br />1990): 3-20.<br /><br />---. "Oliver Stone: An Interview." 15.3 (Summer 1996): 3-15.<br /><br />---. "Robert Richardson, Cinematographer: An Interview." 16.2<br />(Winter/Spring 1997): 64-84.<br /><br />---. "Clint Eastwood: An Interview." 17.3 (Summer 1998): 3-24.<br /><br />---. "James Woods: An Interview." 18.3 (Summer 1999): 3-23.<br /><br />---. "Dede Allen: An Interview." 19.3 (Summer 2000): 3-28.<br /><br />---. “Vilmos Zsigmond: An Interview.” 24.1 (Fall 2004): 3-40.<br /><br />---. “Christian Nyby: An Interview.” 25.1 (Fall 2005): 3-21.<br /><br />---. “Interview: Laurie Collyer.” 27.1 (Fall 2007): 3-31.<br /><br />Gentry, Ric and Robin Wallace. "Film Editor Pietro Scalia: An<br />Interview." 13.3 (Summer 1994): 3-29.<br /><br />Haas, Robert. "The Monster Boomer: An Interview with David Skal."<br />15.3 (Summer 1996): 44-53.<br /><br />Harcourt, Peter. "A Conversation with Atom Egoyam." 15.1 (Fall<br />1995): 68-74.<br /><br />Kawin, Bruce. “Hawks on Faulkner: Excerpts from an Interview.”<br />22.1 (Fall 2002): 3-22.<br /><br />Macksey, Richard. "Malle on Malle, Part I." 2.1 (Fall 1982): 2-12.<br /><br />---. "Malle on Malle, Part II." 2.2 (Winter 1983): 2-13.<br /><br />Miller, Cynthia. “Ethnographic Documentary Filmmakers Sarah Elder<br />and Leonard Kamerling: An Interview.” 27.1 (Fall 2007): 90-109.<br /><br />Perlmutter, Ruth. "Lizzie Borden: An Interview." 6.2 (Winter 1987):<br />2-12.<br /><br />Shea, Chris and Wade Jennings. "Paul Verhoeven: An Interview."<br />12.3 (Summer 1993): 3-24.<br /><br />Slater, Thomas J. "Milos Forman: An Interview, Part I." 4.3<br />(Spring/Summer 1985): 1-15.<br /><br />---. "Milos Forman, An Interview, Part II." 5.1 (Fall 1985): 2-16.<br /><br />Starks, Lisa. "Michael Maloney: An Interview." 17.1 (Fall 1997):<br />79-87.<br /><br />Telotte, J. P. "Christopher Miles: An Interview." 5.2 (Winter 1986):<br />2-18.<br /><br />Wood, Arnold. "Dana Preu on Gal Young Un: An Interview." 3.3<br />(Spring/Summer 1984): 2-15.<br /><br />Wood, Gerald. "Horton Foote: An Interview." 10.3 (Summer 1991):<br />3-12.<br /><br />Viera, Maria. "Cassavetes' Working Methods: Interviews with Al<br />Ruban and Seymour Cassel." 11.2 (Winter 1992): 13-19.<br /><br />Zuber, Sharon. “The Force of Reality in Direct Cinema: An Interview<br />with Albert Maysles.” 26.3 (Summer 2007): 6-21.<br /><br />Zucker, Carole. "Interview with Lindsay Crouse, An." 12.2 (Winter<br />1993): 5-28.Postscript Editorhttp://www.blogger.com/profile/15500916931020851859noreply@blogger.comtag:blogger.com,1999:blog-2319737045197996395.post-21223105731951737602008-08-12T19:25:00.000-07:002008-08-12T19:40:39.273-07:00Forums<span style="font-size:180%;">FORUMS </span><br /><br />Eberwein, Robert T. Forum: "Film as Dream." 2.2 (Winter 1983): 57-58.<br /><br />Gofberg, Robin.. Forum. ["Subtitles, Silence, and the Structure of the Brain": A Reply.] 1.3 (Spring/Summer 1982): 49-50.<br /><br />Kawin, Bruce. Forum. ["Subtitles, Silence, and the Structure of the Brain": A Reply.] 1.3 (Spring/Summer 1982): 51.<br /><br />Knapp, Shoshana Forum: "Film as Dream, II." 2.3 (Spring/Summer 1983): 60-61.Postscript Editorhttp://www.blogger.com/profile/15500916931020851859noreply@blogger.comtag:blogger.com,1999:blog-2319737045197996395.post-13474859387192171022008-08-12T19:24:00.000-07:002008-08-12T19:41:42.887-07:00Book Reviews<span style="font-size:180%;">BOOK REVIEWS</span><br /><br />Anderson, Robert. Circulating Film Library Catalogue, by Museum of Modern Art. 5.1 (Fall 1985): 67-68.<br /><br />Bixby, Barbara. Eisenstein at Work, by Jay Leyda and Zina Voynow. 2.3<br />(Spring/Summer 1983): 62-64.<br /><br />Bloch, Joel. Chinese Film Theory: A Guide to the New Era, by George S.<br />Semsel, Xia Hong, and Hou Jianping, Eds. 10.3 (Summer 1991): 77-79.<br /><br />Bowen, Michael. Macbeth: CD ROM, ed. A.R. Braunmuller, with commentary by David S. Rodes. 17.2 (Winter/Spring 1998): 107-108.<br /><br />Card, James Van Dyck. Adventures in the Screen Trade, by William Goldman.<br />3.3 (Spring/Summer 1984): 63-65.<br /><br />---. Cinema: The First Hundred Years, by David Shipman. 14.3 (Summer 1995):<br />78-80.<br /><br />---. Film: An International History of the Medium, by Robert Sklar. 14.3 (Summer<br />1995): 78-80.<br /><br />Charlton, Colin. Toward Cinema and Its Double: Cross-Cultural Mimesis, by Laleen Jayamanne. 22.3 (Summer 2003): 115-116.<br /><br />Charney, Mark. "David Cronenberg" in Inner Views: Filmmakers in Conversation.<br />15.2 (Winter/Spring 1996): 70-74.<br /><br />---. Cronenberg on Cronenberg. Ed. Chris Rodley. 15.2 (Winter/Spring 1996):<br />70-74.<br /><br />Covey, William B. Autopsy: An Element of Realism in Film Noir, by Carl<br />Richardson. 13.2 (Winter/Spring 1994): 51-53.<br /><br />---. Dames in the Driver’s Seat: Rereading Film Noir, by Jans B Wager. 26.1<br />(Fall 2006): 62-65.<br /><br />Cox, Terrance. Mondo Canuck by Geoff Pevere. 18.2 (Winter/Spring 1998):<br />87-90.<br /><br />Dabb, JeanAnn. From Moscow to Madrid: Postmodern Cities, European<br />Cinema, by Ewa Mazierska and Laura Rascaroli. 25.2 (Winter/Spring<br />2006): 80-82.<br /><br />Desser, David. The Hollywood Professionals: Wilder and McCarey, by Leland<br />Poague. 1.3 (Spring/Summer 1982): 54-56.<br /><br />---. Masters of the American Cinema, by Louis Giannetti. 2.1 (Fall 1982): 66-67.<br /><br />---. Currents in Japanese Cinema, by Tadao Sato. 2.2 (Winter 1983): 59-61.<br /><br />Dixon, Wheeler Winston. The Press: Observed and Projected, by Philip French<br />and Deac Rossell, Eds. 12.1 (Fall, 1992): 61-63.<br /><br />Doherty, Thomas. A Certain Tendency of the Hollywood Cinema, 1930 - 1980, by<br />Robert Ray. 6.3 (Spring/Summer 1987): 90-92.<br /><br />Duchovnay, Gerald. Cinemabilia Catalogue Seven, by Ernest D. Burns, Ed. 1.1<br />(Fall 1981): 48.<br /><br />---. Movies and Entertainment: The Video Tape/Disc Guide. Rev. 1.1 (Fall 1981):<br />48.<br /><br />---. Contemporary Literary Criticism, Vol. 16. 1.1 (Fall 1981): 48.<br /><br />Eberwein, Robert. Ingmar Bergman and the Rituals of Art, by Paisley Livingston.<br />2.1 (Fall 1982): 62-63.<br /><br />Ehrlich, Linda C. Moving Pictures, by Anne Hollander. 8.3 (Summer 1989):<br />70-72.<br /><br />Foreman, Joel. Ideology and the Image: Social Representation in the Cinema<br />and Other Media, by Bill Nichols. 2.1 (Fall 1982): 60-61.<br /><br />Forrest, Jennifer. Between Shanghai and Hong Kong: The Politics of Chinese<br />Cinemas, by Poshek Fu. 25.2 (Winter/Spring 2006): 82-83.<br /><br />Foster, Gwendolyn. Streetwalking on a Ruined Map: Cultural Theory and the City<br />Films of Elvira Notari., by Giuliana Bruno. 13.2 (Winter/Spring 1994):<br />54-56.<br /><br />Gelder, Ken. Killing for Culture: An Illustrated History of Death Film from Mondo<br />to Snuff, by David Kerekes and David Slater. 21.3 (Summer 2002): 131-<br />133.<br /><br />George, Susan. Alien Women: Them Making of Lt. Ellen Ripley, by Ximena C.<br />Gallardo and C. Jason Smith. 23.2 (Winter/Spring 2004): 88-91.<br /><br />Gibson, Lee. Illuminating Shadows: The Mythic Power of Film, by Geoffrey Hill. 14.1 & 2 (Winter/Spring 1995): 125-126.<br /><br />Glajar, Valentina. Cinema of Flames: Balkan Film, Culture and the Media, by Dina Iordanova. 25.2 (Winter/Spring 2006): 84-86.<br /><br />Grigar, Dene. Allegories of Communication: Intermedial Concerns from Cinema to the Digital, by John Fullerton and Jan Olsson, Eds. 25.1 (Fall 2005):<br />74-75.<br /><br />Hawk, Bryon. Shakespearean Films/Shakespearean Directors, by Peter Donaldson. 17.2 (Winter/Spring 1998): 103-106.<br /><br />Henderson, Scott. Canadian Dreams: The Making and Marketing of Independent Films, by Michael Posner. 15.1 (Fall 1995): 81-83.<br /><br />Higginbotham, Virginia. "Convictions and Contradictions of Luis Bunuel: Mon dernier soupir," by Luis Bunuel. 6.2 (Winter 1987): 63-73.<br /><br />Hills, Matt. Mythologies of Violence in Postermodern Media, by Christopher Sharrett, Ed. 21.3 (Summer 2002): 134-135.<br /><br />Jennings, Wade. Some Time in the Sun, by Tom Dardis. 1.2 (Winter 1982):<br />78-79.<br />Kasper, Loretta F. and Robert Singer. "Reading, Language Acquisition, and Film Strategies." 16.2 (Winter/Spring 1997): 5-17.<br /><br />Kernan, Margot. The Film in History: Restaging the Past, by Pierre Sorlin. 1.1 (Fall 1981): 45-46.<br /><br />---. Godard: Images, Sounds, Politics, by Colin McCabe. 3.1 (Fall 1983): 61-64.<br /><br />Koos, Leonard. Beyond Bollywood: The Cultural Politics of South Asian Diasporic Film, by Jigna Desai. 25.2 (Winter/Spring 2006): 86-88.<br /><br />Lavery, David. Fellini's Road, by Donald P. Costelli. 3.2 (Winter 1984): 85-87.<br /><br />Maland, Charles. Charlie Chaplin: A Bio-Bibliography in "The Millionaire Tramp," by Wes D. Gehring. 3.3 (Spring/Summer 1984): 55-62.<br /><br />---. Charles Chaplin: A Guide to References and Resources in "The Millionaire Tramp," by Timothy Lyons. 3.3 (Spring/Summer 1984):55-62.<br /><br />---. Charlie Chaplin's City Lights: Its Production and dialectical Structure in "The Millionaire Tramp," by Gerard Molyneaux. 3.3 (Spring/Summer 1984):<br />55-62.<br />---. What is Cinema? in "The Millionaire Tramp," by Andre Bazin. 3.3 (Spring/Summer 1984): 55-62.<br /><br />---. Chaplin: The Mirror of Opinion, by David Robinson in "The Millionaire Tramp," 3.3 (Spring/Summer 1984): 55-62.<br /><br />---. The American Cinema, by Andrew Sarris in "The Millionaire Tramp." 3.3 (Spring/Summer,1984): 55-62.<br /><br />---. Chaplin, by Julian Smith in "The Millionaire Tramp." 3.3 (Spring/Summer 1984): 55-62.<br /><br />---. All that Hollywood Allows: Rereading Gender in 1950s Melodrama, by Jackie Byars. 12.1 (Fall 1992): 64-66.<br /><br />Michaels, Lloyd. Woody Allen: A Biography, by Eric Lax. 11.3 (Summer 1992): 81-82.<br /><br />Miyao, Daisuke. Mitsuhiro Yoshimoto's Kurosawa: Film Studies and Japanese Cinema. 20.1 (Fall 2000): 96-101.<br /><br />Nicks, Joan. Atom Egoyan, by Carole Desbarts et al. Trans. Brian Holmes. 15.1 (Fall 1995): 75-80.<br /><br />Nolletti, Arthur Jr.. Japanese Films: A Filmography and Commentary, by Beverly Bare Buehrer. 11.1 (Fall 1991): 57-60.<br /><br />Orr, Leonard. The Films of Robbe-Grillet, by Roy Arnes. 1.3 (Spring/Summer 1982): 52-53.<br /><br />Palmer, R. Barton. The Classical Hollywood Cinema: Film Style and Mode of Production to 1960, by David Bordwell, Janet Steiger, and Kristin Thompson. 5.3 (Spring/Summer 1986): 88-91.<br /><br />Poague, Leland. Interpreting Films: Studies in the Historical Reception of American Cinema, by Janet Staiger. 13.1 (Fall 1993): 87-90.<br /><br />---. Orson Welles, Shakespeare, and Popular Culture, by Michael Anderegg. 21.1 (Fall 2001): 39-42.<br /><br />Polan, Dana. French Cinema: First Wave, 1915-192, by Richard Abel. 4.2 (Winter 1985): 63-65.<br /><br />---. Kino-Eye, Rev. by Dziga Verto. 5.1 (Fall 1985): 60-61.<br /><br />---. Cahiers Du Cinema: The 1950s, Ed. Jim Hillier. 5.2 (Winter 1986): 64-68.<br /><br />---. Andy Warhol's Art and Films, by Patrick Smith. 8.1 (Fall 1988): 66-68.<br /><br />---. Psychiatry and the Cinema, by Krin Gabbard and Glen O. Gabbard. 8.2 (Winter 1989): 64-65.<br /><br />---. French Film Theory and Criticism, 1907 - 1930, by Richard Abel. 9.1 & 2 (Fall 1989/Winter 1990): 125-128.<br /><br />Ross, T. J. Cinema Texas Program Notes [Univ. of Texas, Austin], 19.3 (Fall, 1980) and 20.2 (Spring 1981). 2.1 (Fall, 1982): 64-65.<br /><br />Ruppert, Peter German Film and Literature: Adaptations and Transformations, by Eric Rentschler, Ed. 7.3 (Summer 1988): 66-68.<br /><br />Sato, Kazuy. Something Like an Autobiography, by Akira Kurosawa. 6.2 (Winter 1987): 74-76.<br /><br />Schmertz, Johanna. "Viewing Positions: Ways of Seeing Film," ed. Linda Williams. 16.3 (Summer 1997): 65-67.<br /><br />Sharrett, Christopher. Seven, by Richard Dyer. 22.2 (Winter/Spring 2003):124-125.<br /><br />Shary, Timothy. Screen Memories, by Harvey R. Greenberg. 14.3 (Summer 1995): 75-77.<br /><br />Shepperd, Josh. Women, by Annie Leibovitz and Susan Sontag. 26.2 (Winter/Spring 2007): 146-147.<br /><br />Shokoff, James. Five Screenplays by Preston Sturges, by Brian Henderson, Ed. 8.1 (Fall 1988): 64-65. Telotte, J. P. Dance in the Hollywood Musical, by Jerome Delameter. 2.2 (Winter 1983: 62-64.<br /><br />---. About John Ford, by Lindsay Anderson. 4.1 (Fall 1984): 64-67.<br /><br />---. Dark Cinema: American Film Noir in Cultural Perspective, by John Tuska. 5.1 (Fall 1985): 62-64.<br /><br />Thompson, Frank. The Light on Her Face, by Joseph Walker and Juanita Walker. 5.1 (Fall 1985): 65-66.<br /><br />Tryon, Charles. The Subject of Documentary, by Michael Renov. 26.3 (Summer 2007): 102-104.<br /><br />Valenti, Peter. A History of Narrative Film, by David A. Cook. 2.3 (Spring/Summer 1983): 65-68.<br /><br />---. Religion in Film, by John R. May and Michael Bird, Eds. 3.1 (Fall 1983):<br />59-60.<br /><br />von Son, Carlos. Hispanics and United States Film: An Overview and Handbook, by Gary D. Keller. 16.1 (Fall 1996): 64-65.<br /><br />Ward, Carol. The Marx Brothers: A Bio-Bibliography, by Wes Gehring. 8.2 (Winter 1989): 66-68.<br /><br />---. Australian Movies and the American Dream, by Glen Lewis. 9.1 & 2 (Fall, 1989/Winter 1990): 123-124.<br /><br />Watts, Linda S. The Man Who Would Marry Susan Sontag, And Other Intimate Portraits of the Bohemian Era, by Edward Field; Female Icons: Marilyn Monroe to Susan Sontag, by Carl Rollyson. 26.2 (Winter/Spring 2007): 142-145.<br /><br />West, Mark. The American Animated Cartoon, by Gerald Peary and Danny Peary. 1.1 (Fall 1981): 46-47.<br /><br />Wolfe, Charles. An Examination of Narrative Structure in Four Films of Frank Capra, by Brian Rose. 1.2 (Winter 1982): 75-77.<br /><br />Wood, Robert E. The Dark Side of Genius: The Life of Alfred Hitchcock, by Donald Spoto. 4.2 (Winter 1985): 66-67.<br /><br />---. Dreadful Pleasures, by James B. Twitchell. 5.3 (Spring/Summer 1986):<br />84-87.<br />---. Dreams of Darkness, by J. P. Telotte. 5.3 (Spring/Summer 1986): 84-87.<br /><br />---. The Living and the Undead, by Gregory A. Waller. 5.3 (Spring/Summer 1986): 84-87.<br /><br />---. Psycho Paths: Tracking the Serial Killer Through Contemporary American Film and Fiction, by Philip L. Simpson. 22.2 (Winter/Spring 2003): 126-127.<br /><br />Woodward, Katherine S. Feminist Criticism and Women's Pictures, by Annette Kuhn. 3.1 (Fall 1983): 49-58.Postscript Editorhttp://www.blogger.com/profile/15500916931020851859noreply@blogger.comtag:blogger.com,1999:blog-2319737045197996395.post-72046067744453096272008-08-12T19:23:00.001-07:002008-08-12T19:39:48.675-07:00Special Topic Volumes<span style="font-size:180%;">SPECIAL TOPIC VOLUMES</span><br /><br />Documentary Films 26.3 Summer 2007<br /><br />Susan Sontag 26.2 Winter/Spring 2007<br /><br />Indian Cinema 25.3 Summer 2006<br /><br />Transnational Cinema 25.2 Winter/Spring 2006<br /><br />Australian and New Zealand Cinema 24.2 & 24.3 Winter/Spring & Summer 2005<br /><br />Adaptations 23.3 Summer 2004<br /><br />The Double in Movies 22.3 Summer 2003<br /><br />Realist Horror Cinema, II, Serial Killers 22.2 Winter/Spring 2003<br /><br />Realist Horror Cinema, I, Dimensions of the Real 21.3 Summer 2002<br /><br />Spanish Cinema 21.2 Winter/Spring 2002 Contemporary Chinese Cinema 20.2 & 20.3<br /><br />Winter/Spring and Summer 2002<br /><br />The Films of Kurosawa Akira 20.1 Fall 2000<br /><br />Gen X Films 19.2 Winter/Spring 2000<br /><br />Hong Kong Cinema 19.1 Fall 1999<br /><br />Canadian Cinema, II, 18.2 Winter/Spring 1999<br /><br />Contemporary Japanese Cinema 18.1 Fall 1998<br /><br />Shakespeare and Film: Derivatives and Variations 17.2 Winter/Spring 1998<br /><br />Shakespeare and Film: Adaptations 17.1 Fall 1997<br /><br />Literacy and Film 16.2 Winter/Spring 1997<br /><br />Hispanic Film 16.1 Fall 1996<br /><br />David Cronenberg 15.2 Winter/Spring 1996<br /><br />Canadian Cinema 15.1 Fall 1995<br /><br />Psychoanalysis and Film 14.1& 14.2 Fall 1994 and Winter/Spring 1995<br /><br />Contemporary Directions in Film Theory 13.1 Fall 1993<br /><br />Paul Verhoeven 12.3 Summer 1993<br /><br />Film Acting 12.2 Winter 1993<br /><br />John Cassavetes 11.2 Winter 1992<br /><br />Japanese Cinema 11.1 Fall 1991<br /><br />Feminist Cinema 10.2 Winter 1991<br /><br />Film and/as Technology 10.1 Fall 1990<br /><br />Film and Philosophy 7.2 Winter 1988<br /><br />French Cinema 7.1 Fall 1987<br /><br />Film and Autobiography 6.2 Winter 1987<br /><br />Philosophy and Film 6.1 Fall 1986Postscript Editorhttp://www.blogger.com/profile/15500916931020851859noreply@blogger.comtag:blogger.com,1999:blog-2319737045197996395.post-4642016578910954532008-08-12T19:11:00.000-07:002008-08-12T19:42:23.123-07:00Articles & Bibliographies<span style="font-size:180%;">ARTICLES & BIBLIOGRAPHIES</span><br /><br />Abel, Richard. "Before Fantomas: Louis Feuillade and the Development of Early French<br />Cinema." 7.1 (Fall 1987): 4-26.<br /><br />Abrash, Merritt "Have Faith and Enjoy: What the Stunt Man Learns." 5.1 (Fall 1985):<br />31-41.<br /><br />Adah, Anthony. “Agential Mortality: Death, Corporeality, and Identity in Radiance<br />(1997).” 24:2&3 (Winter/Spring & Summer 2005): 35-47.<br /><br />Aiken, Edward A. "Reflections on Dada and the Cinema." 3.2 (Winter 1984): 5-19.<br /><br />Alemany-Galway, Mary. “Postmodernism in Canadian Film: I've Heard the Mermaids<br />Singing.” 18.2 (Winter/Spring 1998): 25-36.<br /><br />---. “Peter Jackson as Postcolonial Filmmaker: National Cinema and Hollywood<br />Genres.” 25.2 (Winter/Spring 2006): 31-43.<br /><br />Alison, Jane. “Stanley Kubrick's Eyes Wide Shut: A Masque in Disguise.” 23.1 (Fall<br />2003): 3-12.<br /><br />Anderson, Carolyn, "Conversation, The as Exemplar and Critique of Sound Technology."<br />6.3 (Spring/Summer 1987): 13-30.<br /><br />Anderson, Joseph D. "A Cognitive Approach to Continuity." 13.1 (Fall 1993): 61-66.<br /><br />Andrew, Dudley. "Immigrant Artists and the Look of French Films." 7.1 (Fall 1987):<br />27-45.<br /><br />Andrew, Dudley and Colin Burnett. “Susan Sontag and the Criticism of Cinema’s<br />Modernity: An Introduction.” 26.2 (Winter/Spring 2007): 5-9.<br /><br />Andrews, David. “Class, Gender, and Genre in Zalman King’s “Real High Erotica”: The<br />Conflicting Mandates of Female Fantasy.” 25.1 (Fall 2005):49-73.<br /><br />Archessault, Janine and Graham Petrie. "The Film Studies Association of Canada." 18.2<br />(Winter/Spring 1999): 85-86.<br /><br />Arthur, Paul and Naomi C. Liebler. "Kings of the Road: My Own Private Idaho and the<br />Traversal of Welles, Shakespeare, and Liminality." 17.2 (Winter/Spring 1998):<br />26-38.<br /><br />Askren, Carol L. R. "Moon Games in Godard's Je Vous Salue, Marie." 8.3 (Summer<br />1989): 28-39.<br /><br />Austin-Smith, Brenda. “‘Mum’s the Word’: The Trial of Genre in Dancer in the Dark.”<br />26.1 (Fall 2006): 32-42.<br /><br />Balcerzak, Scott. “Nationalizing and Segregating Performance: Josephine Baker and<br />Stardom in ZouZou (1934). 26.1 (Fall 2006): 13-31.<br /><br />Balmain, Colette. “Mario Bava's The Evil Eye: Realism and the Italian Horror Film.”<br />21.3 (Summer 2002): 20-31.<br /><br />Baron, Robert F. "Renoir's Neglected Masterpiece: Une Partie De Campagne." 3.1 (Fall<br />1983): 35-48.<br /><br />Basu, Anustup. “Mantras of the Metropole: Digital Inscriptions and Mythic Curvatures<br />of Profane Time.” 25.3 (Summer 2006): 65-78.<br /><br />Batschelet, Margaret. "The Androgyne on the Bus: Speed, the Deliverer-Hero, and the<br />Hostage Plot." 18.3 (Summer 1999): 24-33.<br /><br />Bazin, André. “A Bergsonian Film: The Picasso Mystery.” Trans. & Ed. by Bert<br />Cardullo. 21.1 (Fall 2001): 31-38.<br /><br />Beard, William. 'Lost and Gone Forever: Cronenberg's Dead Ringers." 15.2<br />(Winter/Spring 1996): 11-28.<br /><br />Beatty, Bronwyn and Jennifer Lawn. “Getting to Wellywood: National Branding and the<br />Globalisation of the New Zealand Film Industry.” 24:2&3 (Winter/Spring &<br />Summer 2005): 122-139.<br /><br />Beauvais, Paul Jude. "Lizzie Borden's Working Girls: Interpretation and the Limits of<br />Ideology." 10.2 (Winter 1991): 50-63.<br /><br />Benedetto, Lucio. "Forging an Original Response: A Review of Cassavetes Criticism in<br />English." 11.2 (Winter 1992): 101-107.<br /><br />---. "Annotated Bibliography: John Cassavetes." 11.2 (Winter 1992): 108-111.<br /><br />Berry, Chris. "Turn for the Better?--Genre and Gender in Girl from Hunan and Other<br />Recent Mainland Chinese Films, A." 14.1 & 2 (Winter/Spring 1995): 82-103.<br /><br />Bernstein, Matthew. "Kurosawa's Narration and the Noh Theatre." 20.1 (Fall 200): 34-45.<br /><br />Bick, Ilsa J. "Well, I Guess I Must Make You Nervous: Woman and the Space of Alien."<br />14.1 & 2 (Winter/Spring 1995): 45-58.<br /><br />Bingham, Dennis. "Masculinity, Star Reception, and the Desire to Perform: Clint<br />Eastwood in White Hunter, Black Heart." 12.2 (Winter 1993): 40-53.<br /><br />Bishop, Ellen. "Film Frames: Literacy and Satiric Violence in Contemporary Movies."<br />16.2 (Winter/Spring 1997): 18-34.<br /><br />Blaetz, Robin. "La Femme Vacante or The Rendering of Joan of Arc in the Cinema."<br />12.2 (Winter 1993): 63-78.<br /><br />Bobowski, Slawomir. “Agnieszka Holland vs William Wyler: On Two Adaptations of<br />Henry Jones's Wasington Square.” 23.3 (Summer 2004): 50-63.<br /><br />Braudy, Leo. "Film Genre: A Dialogue. The Thirties, The Forties. 1.3 (Spring/Summer<br />1982): 27-29.<br /><br />Broderick, Mike. “Septic Tanks Downunder: Representing American Soldiers as ‘Other’<br />in Australian Cinema.” 24:2&3 (Winter/Spring & Summer 2005): 94-108.<br /><br />Brooks, Christopher. “Sarah's Dream/ No Fate: Doubling in Terminator II.” 23.2<br />(Winter/Spring 2004): 62-71.<br /><br />Bruce-Novoa, Juan. "There's Many a Slip Between Good Intentions and Script: The<br />Milagro Beanfield War." 16.1 (Fall 1996): 53-63.<br /><br />Buchen, Irving H. "The Road to Xanadu." 1.3 (Spring/Summer 1982): 18-26.<br /><br />Buckley, Christina A. “Alejandro Amenábar's Tesis: Art, Commerce, and Renewal in<br />Spanish Cinema.” 21.2 (Winter/Spring 2002): 12-25.<br /><br />Buhler, Stephen M. "Double Takes: Branagh Gets to Hamlet." 17.1 (Fall 1997): 43-52.<br /><br />Bullaro, Grace Russo. “Roberto Benigni's Life is Beautiful and the Protection of<br />Innocence: Fable, Fairy Tale or Just Excuses?” 23.1 (Fall 2003): 13-26.<br /><br />Burdick, Dolores. "Danger of Death: The Hawksian Woman as Agent of Destruction."<br />1.1 (Fall 1981): 36-40.<br /><br />Burnett, Colin and Dudley Andrew. “Susan Sontag and the Criticism of Cinema’s<br />Modernity: An Introduction.” 26.2 (Winter/Spring 2007): 5-9.<br /><br />Burton, Julianne. "Modernist Form in Land in Anguish and Memories of<br />Underdevelopment." 3.2 (Winter 1984): 65-84.<br /><br />Bywater, William. "Desire for Embodiment in Welles's Citizen Kane, The." 7.2 (Winter<br />1987): 43-57.<br /><br />Cardullo, Bert. "Der letzte Mann Gets the Last Laugh: R. W. Murnau's Comic Vision."<br />1.1 (Fall.1981): 41-44.<br /><br />Carlson, Jerry W. "Down the Streets of Time: Puerto Rico and New York City in the<br />Films Q&A and Carlito's Way. 16.1 (Fall 1996): 34-40.<br /><br />Carney, Ray. "A Polemical Introduction: The Road Not Taken." 11.2 (Winter 1992):<br />3-12.<br /><br />---. "Seven Program Notes from the American Tour of the Complete Films: Faces,<br />Husbands, Minnie and Moskowitz, A Woman Under the Influence, The Killing of a Chinese Bookie, Opening Night, and Love Streams." 11.2 (Winter 1992):<br />37-100.<br /><br />Casebier, Allan. "Idealist and Realist Theories of the Documentary." 6.1 (Fall 1986):<br />66-75.<br /><br />Champagne, John. "Psychoanalysis and Cinema Studies: A 'Queer' Perspective." 14.1 & 2 (Winter/Spring 1995): 33-44.<br /><br />Chapman, Lynnea King. "Introduction: Gen X Films." 19.2 (Winter/Spring 2000): 3-7.<br /><br />---. "Generation X: Searching for an Identity?" 19.2 (Winter/Spring 2000): 8-18.<br /><br />Chesney, Duncan McColl. “Proust and Cinema, or Luchino Visconti's Search.” 23.2<br />(Winter/Spring 2004): 48-61.<br /><br />Cheuk Pak-Tong. "The Beginning of the Hong Kong New Wave: The Interactive<br />Relationship Between Television and the Film Industry." 19.1 (Fall 1999): 10-27.<br /><br />Christensen, Ann C. " Petruchio's House in Postwar Suburbia: Reinventing the Domestic<br />Woman (Again)." 17.1 (Fall 1997): 28-42.<br /><br />Chumo, Peter N. II. "At the Generic Crossroads with Thelma and Louise." 13.2<br />(Winter/Spring 1994): 3-13.<br />---. "The Next Best Thing to a Time Machine: Quentin Tarantino's Pulp Fiction." 15.3 (Summer 1996): 16-28.<br />Ciecko, Anne T. "Peter Greenaway's Alpha-Beastiary Ut Pictura Poesis: A Zed and Two<br />Noughts." 12.1 (Fall 1992): 37-46.<br /><br />Cieco, Anne T. and Sheldon H. Lu. "The Heroic Trio: Anita Mui, Maggie Cheung,<br />Michelle Yeoh- Self-Reflexity and the Globalization of the Hong Kong Active<br />Heroine." 19.1 (Fall 1999):70-86.<br /><br />Collins, Michael J. "Medicine, Lust, Surrealism and Death: Three Early Films of David<br />Cronenberg." 15.2 (Winter/Spring 1996): 62-69.<br /><br />Conlon, James. "Silencing Lambs and Educating Women." 12.1 (Fall 1992): 3-12.<br /><br />---. “Wings of Desire and the Value of Mortality.” 23.1 (Fall 2003): 37-50.<br /><br />Conrich, Ian. “Introduction: Australian and New Zealand Cinema.” 24:2&3<br />(Winter/Spring & Summer 2005): 3-7.<br /><br />---. “Global Pressure and the Political State: New Zealand’s Cinema of Crisis.”<br />24:2&3 (Winter/Spring & Summer 2005): 140-150.<br /><br />Conroy, Peter V., Jr. "Amadeus on Stage and Screen." 9.1 & 2 (Fall 1989/Winter 1990):<br />25-37.<br /><br />Cook, David A. "Shadows of Forgotten Ancestors: Film as Religious Art." 3.3<br />(Spring/Summer 1984): 16-23.<br /><br />Cottenet-Hage, Madeleine. "Le Camion de Marguerite Duras; ou, Comment assurer la<br />libre circulation." 7.1 (Fall 1987): 89-100.<br /><br />Crane, William. "Creative Conflict: Bruce Dern and the Making of Coming Home." 1.2<br />(Winter 1982): 27-45.<br /><br />Crespo, Virginia and Carl Goldberg. “A Psychological Examination of Serial Killer<br />Cinema: The Case of Copycat.” 22.2 (Winter/Spring 2003): 55-63.<br /><br /><br />Crockford, Julian. "'It's all about bucks, kids. The rest is conversation.' Framing the .<br />Economic Narrative from Wall Street to Reality Bites." 19.2 (Winter/Spring<br />2000): 19-33.<br /><br />Crowl, Samuel. "Changing Colors Like the Chameleon: Ian McKellen's Richard III from<br />Stage to Film." 17.1 (Fall 1997): 53-63.<br /><br />Cui, Shuqin. "Working from the Margins: Urban Cinema and Independent Directors in . . . . . . . . Contemporary China." 20.2 & 3 (Winter/Spring & Summer 2001): 77-93.<br /><br />Curtin, Michael. "Industry on Fire: The Cultural Economy of Hong Kong Media." 19.1<br />(Fall 1999): 28-51.<br /><br />Dagle, Joan. "Effacing Race: The Discourse on Gender in Diva." 10.2 (Winter 1991):<br />26-35.<br /><br />Dagle, Joan and Kathryn Kalinak. "Representation of Race and Sexuality: Visual and<br />Musical Construction in Gone With the Wind, The." 13.2 (Winter/Spring 1994):<br />14-27.<br /><br />Dalziell, Tanya and Tony Hughes-D’Aeth. “Thematising the Global: Recent Australian<br />Film.” 24:2&3 (Winter/Spring & Summer 2005): 109-121.<br /><br />Dapena, Gerard. “Solas: Andalusian Mothers in a Global Context.” 21.2 (Winter/Spring<br />2002): 26-37.<br /><br />Davis, Darrell W. "Borrowing Postcolonial: Wu Nien-chen's Dou-san and the Memory<br />Mine." 20.2 & 3 (Winter/Spring & Summer 2001): 94-114.<br /><br />D’Lugo, Marvin. “Recent Spanish Cinema in National and Global Contexts.” 21.2<br />(Winter/Spring 2002): 3-11.<br /><br />---. “The Geopolitical Aesthetic in Recent Spanish Films.” 21.2 (Winter/Spring 2002):<br />78-89.<br /><br />De Reus, Lee Ann and Kenneth Womack. "Misreading 'Little Limp Lo' and 'Humbert the<br />Terrible': The Obfuscation of Child Abuse in Adrian Lyne's Lolita." 19.2<br />(Summer 2000): 58-66.<br /><br />Desser, David. "Mistress, The: The Economy of Sexuality." 11.1 (Fall 1991): 20-27.<br /><br />---. "Madadayo: No, Not Yet for the Japanese Cinema." 18.1 (Fall 1998): 52-58.<br /><br />---. "The Place of Dodeskaden." 20.1 (Fall 2000): 68-78.<br /><br />---. "Disapora and National Identity: Exporting 'China' through the Hong Kong Cinema."<br />20.2 & 3 (Winter/Spring & Summer 2001): 124-136.<br /><br />Desser, David and Frances Gateward. “Introduction: Indian Cinema and Film Studies.”<br />25.3 (Summer 2006): 3-6.<br /><br />Deutelbaum, Marshall. "Visual Design Program of Casablanca, The." 9.3 (Summer<br />1990): 36-48.<br /><br />Deveny, Thomas."The Mirror and theMask:Cinematographic Adaptations of Juan<br />Marsé's El amante bilingüe." 16.1 (Fall 1996): 5-12.<br /><br />Devereaux, Mary. "Of 'Talk and Brown Furniture': The Aesthetics of Film Dialogue." 6.1<br />(Fall 1986) 32-52.<br /><br />Díaz-Fernández, José Ramón. "Shakespeare on Screen: A Bibliography of Critical<br />Studies." 17.1 (Fall 1997): 91-146.<br /><br />---. "Shakespeare and Film-Derivatives: A Bibliography." 17.2 (Winter/Spring 1998):<br />110-120.<br /><br />Diego, Catherine Don. “Hits, Whacks, and Smokes: The Celluloid Gangster as Horror<br />Icon.” 21.3 (Summer 2002): 87-98.<br /><br />Dixon, Wheeler Winston. "It Looks at You: Notes on the 'Look Back' in Cinema." 13.1<br />(Fall 1993): 77-86.<br /><br />Donougho, Martin. "West of Eden: Terrence Malick's Days of Heaven." 5.1 (Fall 1985):<br />17-30.<br /><br />Doss, Erika L. "Edward Hopper, Nighthawks, and Film Noir." 2.2 (Winter 1983): 14-36.<br /><br />Dube, Reena. “Work, Play and Linguistic Hybridity in Postcolonial India: (DE)Forming<br />the Indian Middle Class in Ray’s Kanchenjungha. 25.3 (Summer 2006): 7-16.<br /><br />Dubuisson Castille, Philip. "Compson and Sternwood: William Faulkner's 'Appendix' and<br />The Big Sleep." 13.3 (Summer 1994): 54-61.<br /><br />Duchovnay, Gerald. “Post Script Index: The First Twenty Years (1981-2001).” 21.1<br />(Fall 2001): 72-84.<br /><br />Dunbar-Odom, Donna. "Reading, Writing, and Internalizing Cultural Narratives in<br />Melanie and Stanley and Iris." 16.2 (Winter/Spring 1997): 56-63.<br /><br />Dunne, Micahel. "Bakhtinian Dialogic in Hector Babenco's Kiss of the Spider Woman."<br />14.3 (Summer 1995): 14-24.<br /><br />---. “Mikhail Bakhtin and the Sundance Kid: Generic Dialogue in the Western.” 23.2<br />(Winter/Spring 2004): 33-47.<br /><br />Durham, Carolyn A. “Sighting/Siting/Citing the City: The Construction of Paris in<br />Twenty-First Century Cinema.” 27.1 (Fall 2007): 72-89.<br /><br />Eberwein, Robert. "The Erotic Thriller." 17.3 (Summer 1998): 25-33.<br /><br />Eidsvik, Charles. "Perception and Convention in Acting for Theatre and Film." 8.2<br />(Winter 1989): 21- 35.<br /><br />Eitzen, Dirk. "Attending to the Fiction: A Cognitive Account of Cinematic Illusion." 13.1<br />(Fall 1993): 47-60.<br /><br />Farquhar, Mary and Chris Berry. "Shadow Opera: Towards a New Archeology of the<br />Chinese Cinema." 20.2 & 3 (Winter/Spring & Summer 2001): 25-42.<br /><br />Ferross, Suzanne and Mallory Young. “Chick Flicks and Chick Culture.” 27.1 (Fall<br />2007): 32-49.<br /><br />Fischer, Lucy. "Lifestyles of the Rich and Famous: Imitation of Life." 10.2 (Winter<br />1991): 5-13.<br /><br />---. "Irezumi: Tattoo, Taboo, and the Female Body." 18.1 (Fall 1998): 11-23.<br /><br />Fleck, Patrice. "Silencing of Women in the Hollywood 'Feminist' Film: The Accused,<br />The." 9.3 (Summer 1990): 49-55.<br /><br />---. "Looking in the Wrong Direction: Displacement and Literacy in the Hollywood Serial<br />Killer Drama." 16.2 (Winter/Spring 1997): 35-43.<br /><br />---. "Introduction: Hong Kong Movies, Critical Time Warps, and Shapes of Things to<br />Come."19.1(Fall 1999): 2-9.<br /><br />Fore, Steve. "Time-Traveling Under an Autumn Moon." 17.3 (Summer 1998): 34-46.<br /><br />---. "Introduction: Hong Kong Movies, Critical Time Warps, and Shapes of Things to<br />Come." 19.1 (Fall 1999): 2-9.<br /><br />Furstenau, Marc. “The Ethics of Seeing: Susan Sontag and Visual Culture Studies.” 26.2<br />(Winter/Spring 2007): 91-104.<br /><br />Gabbard, Krin. "Aliens and the New Family Romance." 8.1 (Fall 1988): 29-42.<br /><br />Gaggi, Sylvio. "Rush's The Stunt Man: Politics, Metaphysics, and Psychoanalysis." 4.1<br />(Fall 1984): 18-34.<br /><br />Gates, Philippa. “Manhunting: The Female Detective in the Serial Killer Film.” 24.1<br />(Fall 2004): 42-61.<br /><br />Gateward, Frances and David Desser. “ Introduction: Indian Cinema and Film Studies.”<br />25.3 (Summer 2006): 3-6.<br /><br />Geist, Kathe "Filmmaking as Research: Wim Wenders' The State of Things." 5.2<br />(Winter 1986): 19-30.<br /><br />---. "Late Kurosawa: Kagemusha and Ran." 12.1 (Fall 1992): 26-36.<br /><br />Gentry, Ric. "Coppola's Faerie Tale Theatre." 8.1 (Fall 1988): 43-51.<br /><br />Ghillebaert, Françoise. “From Doppelganger to Persona: Acting Becomes the Identity.”<br />22.3 (Summer 2003): 3-7.<br /><br />---. “The Double in Bunuel's That Obscure Object of Desire.” 22.3 (Summer 2003):<br />57-68.<br /><br />Ginsberg, Robert. "Philosophy and Film: An Introduction." 6.1 (Fall 1986): 2-4.<br /><br />---. "Introduction to Film and Philosophy." 7.2 (Winter 1988): 2-3.<br /><br />Goldberg, Carl and Virginia Crespo. “A Psychological Examination of Serial Killer<br />Cinema: The Case of Copycat.” 22.2 (Winter/Spring 2003): 55-63.<br /><br />Goldhurst, William "Regeneration Through Disaster: San Francisco." 4.2 (Winter 1985):<br />45-62.<br /><br />Golsan, Katherine. “Adaptation as Forgery: The Case of The Talented Mr. Ripley.” 23.3<br />(Summer 2004): 19-35.<br /><br />Gomez, Gabriel. "Homocolonialism: Looking for Latinos in Apartment Zero and Paris is<br />Burning." 14.1 & 2 (Winter/Spring 1995): 117-124.<br /><br />Grant, Barry K. "Nature, Culture, Documentary: The Films of Kevin McMahon." 15.1<br />(Fall 1995): 57-67.<br /><br />---. " Canadian Cinema II: Introduction." 18.2 (Summer 1998): 3-4.<br /><br />Gravett, Sharon. "Boats Against the Current: The Presence of the Past in The Moderns."<br />13.2 (Winter/Spring 1994): 28-34.<br /><br />Griffith, James J. "Damned If You Do, and Damned If You Don't: James Dickey's<br />Deliverance." 5.3 (Spring/Summer 1986): 47-59.<br /><br />Grillo, Virgil and Bruce Kawin. "Reading at the Movies: Subtitles, Silence, and the<br />Structure of the Brain." 1.1 (Fall 1981): 25-32.<br /><br />Grindon, Leger. "Significance Reexamined: A Report on Bruce Conner." 4.2 (Winter<br />1985): 32-44.<br /><br />---. "Role of Spectacle and Excess in the Critique of Illusion, The." 13.2 (Winter/Spring<br />1994): 35-43.<br />Guntner, J. Lawrence. "Expressionist Shakespeare: The Gade/Nielsen Hamlet (1920) and the History of Shakespeare on Film." 17.2 (Winter/Spring 1998): 90-102.<br />Haas, Lynda and Mary Pharr. "Somatic Ideas: Cronenberg and the Feminine." 15.2<br />(Winter/Spring1996): 29-39.<br /><br />Haas, Robert. "The Cronenberg Monster: Literature, Science, and Psychology in the<br />Cinema of Horror." 15.2 (Winter/Spring 1996): 3-10.<br /><br />---. "David Cronenberg Filmography." 15.2 (Winter/Spring 1996): 75-78.<br /><br />Handling, Piers. "Canada's Ten Best." 15.1 (Fall 1995): 6-8.<br /><br />Hantke, Steffen. “Monstrosity Without a Body: Representational Strategies in the<br />Popular Serial Killer Film.” 22.2 (Winter/Spring 2003): 34-54.<br /><br />Hastie, Amelie. " Fashion, Femininity, and Historical Design: The Visual Texture of<br />Three Hong Kong Films." 19.1 (Fall 1999): 52-69.<br /><br />Head, David and Richard Falcon. "Die Glaserne Zelle: Geissendorfer, Highsmith, and<br />Adaptation." 4.1 (Fall 1984): 49-63.<br /><br />Heine, Steven. "Sayonara Can Mean 'Hello': Ambiguity and the Orientalist Butterfly<br />Syndrome in Postwar American Films." 16.3 (Summer 1997): 17-35.<br /><br />Heisner, Beverly. "Movie Scenery and Popular Architecture: Morris Lapidus' Miami<br />Beach Hotels." 1.1 (Fall 1981): 8-17.<br /><br />Held, Leonard. "Myth and Archetype in Nicholas Roeg's Walkabout." 5.3<br />(Spring/Summer 1986): 21-46.<br /><br />Heldreth, Leonard. "Festering in Thebes: Elements of Tragedy and Myth in Cronenberg's<br />Films." 15.2 (Winter/Spring 1996): 46-61.<br /><br />Hemmeter, Thomas. “Horror Beyond the Camera: Cultural Sources of Violence in<br />Hitchcock's Mid-Century America.” 22.2 (Winter/Spring 2003): 7-19.<br /><br />Hermann, Chad. "Some Horrible Dream About (S)mothering": Sexuality, Gender, and<br />Family in the New German Cinema." 16.3 (Summer 1997): 36-50.<br /><br />Herzogenrath, Bernd. “Join the United Mutations: Tod Browning's Freaks.” 21.3<br />(Summer 2002): 8-19.<br /><br />Higgins, Lynn A. “Introduction: Adaptation.” 23.3 (Summer 2004): 3-4.<br /><br />Hill, Jane. “Ambition and Ideology: Intertextual Clues to A Simple Plan’s View of the<br />American Dream.” 24.1 (Fall 2004): 62-70.<br /><br />Hill, Rodney. "Small Things Considered: Raising Arizona and Of Mice and Men." 8.3<br />(Summer 1989): 18-27.<br /><br />Hillman, Roger. “Lola and Billy the Kid (1999): A Turkish Director’s Western<br />Showdown in Berlin.” 25.2 (Winter/Spring 2006): 44-55.<br /><br />Hirano, Kyoko. "The New Generation of Japanese Film Producers." 18.1 (Fall 1998):<br />79-88.<br /><br />Hoffman, Judi. "Discourse of 'Special Effects' Cinematography in the Silent American<br />Cinema, The." 10.1 (Fall 1990): 30-49.<br /><br />Holmes, Michael Morgan. "New Romantic Shakespeare: AIDS, Poetry, and Community<br />Survival in Derek Jarman's The Angelic Conversation." 17.2 (Winter/Spring<br />1998): 56-72.<br /><br />Hoorn, Jeanette. “White Lubra/White Savage: Pituri and Colonialist Fantasy in Charles<br />Chauvel’s Uncivilized (1936).” 24:2&3 (Winter/Spring & Summer 2005): 48-63.<br /><br />Hotchkiss, Lia M. "The Incorporation of Word as Image in Prospero's Books." 17.2<br />(Winter/Spring 1998): 8-25.<br /><br />Hu, Brian. “Bollywood Dreaming: Kal Ho Naa Ho and the Diasporic Spectator.” 25.3<br />(Summer 2006): 93-104.<br /><br />Hughes-D’Aeth, Tony and Tanya Dalziell. “Thematising the Global: Recent Australian<br />Film.” 24:2&3 (Winter/Spring & Summer 2005): 109-121.<br /><br />Humphries, Reynold. “On the Road Again: Rehearsing the Death Drive in Modern<br />Realist Horror Cinema.” 22.2 (Winter/Spring 2003): 64-80.<br /><br />Hutcheon, Linda. “Why Adapt?” 23.3 (Summer 2004): 5-18.<br /><br />Ingersoll, Earl G. "Bringing the (Gender) War Home: Vietnam and Elia Kazan's The<br />Visitors." 17.3 (Summer 1998): 55-68.<br /><br />Inouye, Charles Shiro. "Dreaming about Women-The Family Films of Tamasaburo<br />Bando." 18.1 (Fall 1998): 68-77.<br /><br />Jackson, Neil. “Cannibal Holocaust, Realist Horror, and Reflexivity.” 21.3 (Summer<br />2002): 32-45.<br />Jaikumar, Priya. “A New Universalism: Terrorism and Film Language in Mani Ratnam’s<br />Kannathil Muthamittal. 25.3 (Summer 2006):48-64.<br /><br />Jarvie, Ian. "Philosophic Dialogue on Film: A Screen Treatment." 6.1 (Fall 1986): 5-31.<br /><br />Jayamanne, Laleen. “The Museum as Refuge for Film: The Case of Kumar Shahani’s<br />Epic Cinema.” 25.3 (Summer 2006): 79-92.<br /><br />Jones Elizabeth. "Films That 'Never Transcend the Realm of Art'." 3.2 (Winter 1984):<br />20-33.<br /><br />---. "Locating Truth in Film, 1940 - 1980." 6.1 (Fall 1986): 53-65.<br /><br />Jones, G. William. "Canadian Preserve for an Endangered Species: The Free Animator."<br />10.3 (Summer 1991): 13-29.<br /><br />Jortner, David. "Stability of the Heart Amidst Hills of Green: An Ecocritical Reading of<br />Kurosawa Akira's Ran." 20.1 (Fall 2000): 82-91.<br /><br />Kaufman, J. B. "Merbabies: The Disney Film That Wasn't." 6.3 (Spring/Summer 1987):<br />45-53.<br /><br />Keane, Marian. "Dyer Straits: Theoretical Issues in Studies of Film Acting." 12.2 (Winter<br />1993): 29-39.<br /><br />Keathley, Christian. “Sontag and Cinephilia.” 26.2 (Winter/Spring 2007): 72-80.<br /><br />Kellman, Steven G. "Blaise Cendrars' L'Or as Cinematic Novel." 4.3 (Spring/Summer<br />1985): 16-28.<br /><br />Kepley, Vance, Jr. "Strike Him in the Eye: Dovzhenko's Aerograd and the Stalinist<br />Terror." 2.2 (Winter 1983): 37-54.<br /><br />Kercher, Dona M. “Hitting the Mark from Television to Film: Violence, Timing, and the<br />Comedy Team in Alex de la Iglesia's Muertos de Risa (1999).” 21.2 (Winter/<br />Spring 2002): 50-63.<br /><br />Kerekes, David. “Reply to Gelder.” 21.3 (Summer 2002): 133.<br /><br />Knee, Adam. "Family Game, The is Up: Morita Revises Ozu." 11.1 (Fall 1991): 40-47.<br /><br />Koff, Calvin. “Some Notes on Antonioni and Others.” 26.2 (Winter/Spring 2007): 137-<br />141.<br /><br />Kolar, Meredith. “The Mystery of the Unsung Song.” 23.3 (Summer 2004): 87-98.<br /><br />Kolker, Robert P. "Eighties, The." 1.3 (Spring/Summer 1982): 30-32.<br /><br />--- . "Modernism: An Introduction." 3.2 (Winter 1984): 2-4.<br /><br />---. "French Cinema: Introduction." 7.1 (Fall 1987): 2-3.<br /><br />---. "Carne's Les Portes de la Nuit and the Sleep of French Cinema." 7.1 (Fall 1987):<br />46-59.<br /><br />Kooijman, Jaap and Tarja Laine. “American Psycho: A Double Portrait of Serial Yuppie<br />Patrick Bateman.” 22.3 (Summer 2003): 46-56.<br /><br />Koos, Leonard R. “Films Without Borders: An Introduction.” 25.2 (Winter/Spring 2006):<br />3-18.<br /><br />Kouvaros, George and Janice Zwierzynski. "Blow to the Heart: Cassavetes' Love<br />Streams." 11.2 (Winter 1992): 27-36.<br /><br />La Caze, Marguerite. “The Mourning of Loss in The Sixth Sense.” 21.3 (Summer 2002):<br />111-121.<br /><br />Lafond, Frank. “The Life and Crimes of Ben; or, When a Serial Killer Meets a Film<br />Crew in Man Bites Dog .” 22.2 (Winter/Spring 2003): 92-102.<br /><br />Laine, Tarja and Jaap Kooijman. “American Psycho: A Double Portrait of Serial Yuppie<br />Patrick Bateman.” 22.3 (Summer 2003): 46-56.<br /><br />Landon, Brooks. "Rethinking Science Fiction Film in the Age of Electronic<br />(Re)Production: On a Clear Day You Can See the Horizon of Invisibility." 10.1<br />(Fall 1990): 60-71.<br /><br />Landy, Marcia. "They Were Sisters: The British Woman's Film." 10.2 (Winter 1991):<br />14-25.<br /><br />Lanier, Douglas. "Now: The Presence of History in Looking for Richard." 17.2<br />(Winter/Spring 1998): 39-55.<br /><br />Latham, James. “‘Your Life Is Not a Very Good Script’: David Holzman’s Diary and<br />Documentary Expression in Late 1960s America and Beyond.” 26.3 (Summer<br />2007): 22-33.<br /><br />Latteier, Pearl. “Gender amd the Modern Body: Men, Women, and Machines in Vertov's<br />Man with a Movie Camera.” 22.1 (Fall 2002): 23-34.<br /><br />Lavery, David. "Autobiography and Film: Introduction." 6.2 (Winter 1987): 12-13.<br /><br />---. "Major Man: Fellini as an Autobiographer." 6.2 (Winter 1987): 14-28.<br /><br />---. "News from Africa: Fellini-Grotesque." 9.1 & 2 (Fall 1989/Winter 1990): 82-98.<br /><br />---. "Home Movie 8 1/2: The Beerdrinker's Guide to Fitness and Filmmaking." 11.3<br />(Summer 1992): 46-52.<br /><br />Lawn, Jennifer and Bronwyn Beatty. “Getting to Wellywood: National Branding and the<br />Globalisation of the New Zealand Film Industry.” 24:2&3 (Winter/Spring &<br />Summer 2005): 122-139.<br /><br />Leach, Jim. "Lost Bodies and Missing Persons: Canadian Cinema(s) in the Age of Multi-<br />National Representations." 18.2 (Winter/Spring 1999): 5-18.<br /><br />Lee, Sander H. "Escape and Commitment in Hitchcock's Rear Window." 7.2 (Winter<br />1988): 18-28.<br /><br />---. "Alfred Hitchcock: Misogynist or Feminist?" 10.3 (Summer 1991): 38-48.<br /><br />Lefebvre, Jean Pierre. "Quebec Independent Cinema in the 1990s." 18.2 (Winter/Spring<br />1999): 19-24.<br /><br />Leff, Leonard J. "Notes Toward a Syntagmatic Analysis of the Program/Commercial<br />Axis of Theatrical Films Screened on American Television." 2.2 (Winter 1983):<br />55-56.<br /><br />Lehmann, Courtney. "Kenneth Branagh at the Quilting Point: Shakespearean Adaptation,<br />Postmodern Auteurism, and the (Schizophrenic) Fabric of 'Everyday Life.'" 17.1<br />(Fall 1997): 6-27.<br /><br />Lehman, Peter. "Safeguarding the Real Advances: Psychoanalysis and the History of<br />Film Theory." 14.1 & 2 (Winter/Spring 1995): 14-21.<br /><br />Leitch, Thomas. “Post-Literary Adaptation.” 23.3 (Summer 2004): 99-117.<br />Lev, Peter and Gary Scharnhorst. "Nathanael West's Unproduced Screen Treatment of A<br />Cool Million: A Twice-Twisted Tale." 2.3 (Spring/Summer 1983): 24-32.<br /><br />Levinson, Brett. "Towards a Psychoanalysis of Culture: Sex, Nation, and the Praxis of the<br />Liminal in American Me and The Labyrinth of Solitude." 16.1 (Fall 1996): 13-33.<br /><br />Li, H.C. "Hong Kong Electric Shadows II: Recent English Publications on Hong Kong<br />Cinema." 20.2 & 3 (Winter/Spring & Summer 2001): 159-168.<br /><br />Liebler, Naomi C. and Paul Arthur. " Kings of the Road: My Own Private Idaho and the<br />Traversal of Welles, Shakespeare, and Liminality." 17.2 (Winter/Spring 1998):<br />26-38.<br /><br />Loiselle, André. "Subtly Subversive or Simply Stupid: Notes on Popular Quebec<br />Cinema." 18.2 (Winter/Spring 1998): 75-84.<br /><br />Lowenstein, Adam. "Canadian Horror Made Flesh: Contextualizing David Cronenberg."<br />18.2 (Winter/Spring 1999): 37-51.<br /><br />Lu, Sheldon H. and Anne T. Ciecko. "The Heroic Trio: Anita Mui, Maggie Cheung,<br />Michelle Yeoh-Self-Reflexivity and the Globalization of the Hong Kong Action<br />Heroine." 19.1 (Fall 1999): 70-86.<br /><br />Lu, Sheldon H. and Yeh Yueh-Yu. "Introduction: Centennial Reflections on Chinese . .<br />Language Cinemas." 20.2 & 3 (Winter/Spring and Summer 2001): 3-8.<br /><br />Lu, Sheldon H. "Hong Kong Disapora Film and the Transnational TV Drama: From<br />Homecoming and Exile to Flexible Citizenship." 20.2 & 3 (Winter/Spring &<br />Summer 2001): 137-146.<br /><br />Luprecht, Mark. "Opaque Skies: Wings of Desire-Angelic Text, Context, and Subtext."<br />17.3 (Summer 1998): 47-54.<br /><br />Ma, Jean Y. “Doubled Lives, Dissimulated History: Hou Hsiao-hsien's Good Men, Good<br />Women.” 22.3 (Summer 2003): 21-33.<br /><br />Mackey. Jill A. "Lesbians in This House: Sister My Sister and Lesbian Subjectivity." 18.3<br />(Summer 1999): 34-45.<br /><br />Magistrale, Tony. "Cronenberg's "Only Really Human Movie": The Dead Zone." 15.2<br />(Winter/Spring1996): 40-45.<br /><br />Majumdar, Neepa. “Doubling, Stardom, and Melodrama in India Cinema: The<br />"Impossible" Role of Nargis.” 22.3 (Summer 2003): 89-103.<br /><br />Marchessault, Janine and Graham Petrie. "The Film Studies Association of Canada." 18.2<br />(Winter/Spring): 85-86.<br /><br />Marchetti, Gina. "White Knights in Hong Kong: Race, Gender, and the Exotic in Love is<br />a Many-Splendored Thing and The World of Suzie Wong." 10.2 (Winter 1991):<br />36-49.<br /><br />Margolis, Harriet E. "Blue Steel: Progressive Feminism in the 90s?" 13.1 (Fall 1993):<br />67-76.<br /><br />Marshall, Alexander J., III. "Lure of Eros: Nietzchean Intertextuality in Visconti, Mahler,<br />and Mann, The." 13.3 (Summer 1994): 30-38.<br /><br />Mathews, Peter. “Spinoza’s Stone: The Logic of Donnie Darko.” 25.1 (Fall 2005): 38-<br />48.<br /><br />Maule, Rosanna. “Juanma Bajo Ulloa's Airbag and the Politics of Spanish Regional<br />Authorship.” 21.2 (Winter/Spring 2002): 64-77.<br /><br />Maxfield, James F. "Now it's Dark: The Child's Dream in Blue Velvet." 8.3 (Summer<br />1989): 2-17.<br /><br />Mazdon, Lucy. “The Cannes Film Festival as Transnational Space.” 25.2 (Winter/Spring<br />2006): 19-30.<br /><br />McCombe, John P. “Reinventing Bird: The Evolving Image of Charlie Parker on Film.”<br />25.1 (Fall 2005): 22-37.<br /><br />McDonald, Keiko I. "Morita Yoshimitsu's Sorekara (And Then): Novel into Film." 9.1 &<br />2 (Fall 1989/Winter 1990): 67-81.<br /><br />---. "Japanese Cinema: An Introduction." 11.1 (Fall 1991): 2-4.<br /><br />---. "Shinoda's Maihime (Die Tänzerin): Short Story into Action." 15.3 (Summer 1996):<br />29-43.<br /><br />---. "Introduction: Contemporary Japanese Cinema." 18.1 (Fall 1998): 3-7.<br /><br />---. "Suzaku: Documenting the Country Family in Contemporary Japan." 18. 1 (Fall<br />1998): 101-111.<br /><br />---. "Films of Kurosawa Akira: Introduction." 20.1 (Fall 2000): 3-6.<br /><br />---. "Dream, Song and Symbol: More about Drunken Angel." 20.1 (Fall 2000): 23-33.<br /><br />McGlothlin, Erin. “Speaking the Mind's Voice: Double Discursivity in Jane Campion's<br />The Piano.” 23.2 (Winter/Spring 2004): 19-32.<br /><br />McLaughlin, Jim. “Putting Her Body on the Line: The Critical Acts of Susan Sontag,<br />Part I.” 26.2 (Winter/Spring 2007): 10-23.<br /><br />---. “Putting Her Body on the Line: The Critical Acts of Susan Sontag, Part II.” 26.2<br />(Winter/Spring 2007): 24-40.<br /><br />Michaels, Lloyd. "Thin Blue Line, The and the Limits of Documentary." 13.2<br />(Winter/Spring 1994): 44-50.<br /><br />Michel, Frann. “From ‘Their Eyes’ to ‘New Eyes’: Suffering Victims and Cultivated<br />Aesthetics in Born Into Brothels.” 26.3 (Summer 2007): 53-61.<br /><br />Miller, Gabriel. "Beyond the Frame: Hitchcock, Art, and the Ideal." 5.2 (Winter 1986):<br />31-46.<br /><br />Mintz, Steven and Ken Nolley. “Recent Directions in Documentary: An Introduction.”<br />26.3 (Summer 2007): 2-5.<br /><br />Mitrano, G.F. “The Photographic Imagination: Sontag and Benjamin.” 26.2<br />(Winter/Spring 2007): 117-136.<br /><br />Miyao, Daisuke. "Blue vs. Red: Takeshi Kitano's Color Scheme." 18.1 (Fall 1998):<br />112-127.<br /><br />Mizejewski, Linda. "Total Recoil: The Schwarzenegger Body on Postmodern Mars." 12.3<br />(Summer 1993): 25-33.<br /><br />Morgan, Jack. “Refiguring Gothic Mythology: The Film Noir-Horror Hybrids of the<br />1980s.” 21.3 (Summer 2002): 72-86.<br /><br />Murphy, Joseph. "Brownian Movement in Recent Japanese Film." 18.1 (Fall 1998):<br />38-51.<br /><br />Nagler, Lihi. “Singling Out the Double: Objectivity, Subjectivity and Alterity in<br />Kieslowski's The Double Life of Veronique.” 22.3 (Summer 2003): 8-20.<br /><br />Nair, Parvati. “In Modernity's Wake: Transculturality, Deterriotorialization and the<br />Question of Community in Icíar Bollaín's Las flores de otro mundo (Flowers from<br />Another World).” 21.2 (Winter/Spring 2002): 38-49.<br /><br />Neupert, Richard. "Exercising Color Restraint: Technicolor in Hollywood." 10.1 (Fall<br />1990): 21-29.<br /><br />Nobuhiko,Obayashi. "Kurosawa and Cinematic Traditions." Trans. David Mills. 20.1<br />(Fall 2000): 79-81.<br /><br />Nolley, Ken and Steven Mintz. “Recent Directions in Documentary: An Introduction.”<br />26.3 (Summer 2007): 2-5.<br /><br />Norton, Glen. "The Seductive Slack of Before Sunrise." 19.2 (Winter/Spring 2000):<br />62-72.<br /><br />Nygren, Scott. "New Narrative Film in Japan: Stress Fractures in Cross-Cultural<br />Postmodernism." 11.1 (Fall 1991): 48-56.<br /><br />O’Brien, Charles. “Sontag’s Erotics of Film Style: Between Meaning and Presence.”<br />26.2 (Winter/Spring 2007): 41-51.<br /><br />O’Meara, Lucy. “Sontag’s Barthes: A Portrait of the Aesthete.” 26.2 (Winter/Spring<br />2007): 105-116.<br /><br />Orgeron, Devin Anthony. "Scatological Film Practice: Pulp Fiction and a Cinema in<br />Movements." 19.3 (Summer 2000): 29-40.<br /><br />Osborne, Laurie E. "Mixing Media in Shakespeare: Animating Tales and Colliding<br />Modes of Production." 17.2 (Winter/Spring 1998): 73-89.<br /><br />Pagan, Nicholas O. “Tous les matins du monde: Roland Barthes and the Culture of<br />Musicianship.” 22.1 (Fall 2002): 35-44.<br /><br />Paterson, Susanne F. "Fassbinder's Ali: Fear Eats the Soul and the Expropriation of a<br />National Heim." 18.3 (Summer 1999): 46-57.<br /><br />Pelizzon, V. Penelope and Nancy West. “‘A Perfect Double Down to the Last Detail’:<br />Photography and the Identity of Film Noir.” 22.3 (Summer 2003): 34-45.<br /><br />Perlmutter, Ruth. "Peter Greenaway: An Inter-Review." 8.2 (Winter 1989): 56-63.<br /><br /><br />Pevere, Geoff. "Middle of Nowhere: Ontario Movies After 1980." 15.1 (Fall 1995): 9-22.<br /><br />Pfefferkorn, Eli. "Bettleheim, Wertmuller, and the Morality of Survival." 1.2 (Winter<br />1982): 15-26.<br /><br />Pharr, Mary and Lynda Haas. "Somatic Ideas: Cronenberg and the Feminine." 15.2<br />(Winter/Spring1996): 29-39.<br /><br />Plantinga, Carl. "Affect, Cognition, and the Power of Movies." 13.1 (Fall 1993): 10-29.<br /><br />Plasse, Marie. "Purple Rain: Rock-Fiction and the Prince Aesthetic." 6.3<br />(Spring/Summer 1987): 54-66.<br /><br />Plater, Edward M. V. "Storyteller in Wim Wender's Wings of Desire, The." 12.1 (Fall<br />1992): 13-25.<br /><br />Poague, Leland. "Tramp, The as Text." 1.2 (Winter 1982): 62-74. Polan, Dana. "Sarte and<br />Cinema." 7.1 (Fall 1987): 66-88.<br /><br />Pressler, Michael. "Antonioni's Blow-Up: Myth, Order, and the Photographic Image." 5.1<br />(Fall 1985): 42-59.<br /><br />Price, Brian. “Sontag, Bresson, and the Unfixable.” 26.2 (Winter/Spring 2007): 81-90.<br /><br />Prince, Stephen. "Zen and Selfhood: Patterns of Eastern Thought in Kurosawa's Films."<br />7.2 (Winter 1988): 4-17.<br /><br />---. "Memory and Nostalgia in Kurosawa's Dream World." 11.1 (Fall 1991): 28-39.<br /><br />---. "Contemporary Directions in Film Theory: An Introduction." 13.1 (Fall 1993): 3-9.<br /><br />---. "In Memory of Kurosawa Akira." 20.1 (Fall 2000): 92-95.<br /><br />Prindle, Tamae K. "A Cocooned Identity: Japanese Girl Films: Nobuhiko Oobayashi's<br />Chizuko's Younger Sister and Jun Ichikawa's Tsugumi." 18.1 (Fall 1998): 24-37.<br /><br />---. "Kurosawa Akira's No Regrets for Our Youth (1946). 20.1 (Fall 2000): 10-22.<br /><br />Prime, Rebecca. “Stranger than Fiction: Genre and Hybridity in the ‘Refugee Film’”<br />25.2 (Winter/Spring 2006): 56-66.<br /><br />Radwan, Jon. "Generation X and Postmodern Cinema: Slacker." 19.2 (Winter/Spring<br />2000): 34-48.<br /><br />Ramachandran, Hema. “Animation of Anne: Japanese Anime Encounters the Diary of a<br />Holocaust Icon, The.” 24.1 (Fall 2004): 71-81.<br /><br />Ramsay, Christine. "Léo Who?: Questions of Identify and Culture in Jean-Claude<br />Lauzon's Léolo." 15.1 (Fall 1995): 23-37.<br /><br />Rapf, Joanna E. "In the Beginning was the Work: Steven Geller on Slaughterhouse-<br />Five." 4.2 (Winter 1985): 19-31.<br /><br />---. "Larger Thing, A: John Michael Hayes and The Children's Hour." 9.1 & 2 (Fall<br />1989/Winter 1990): 38-52.<br /><br />Rathgeb, Douglas L. "Faces in the Newsreel: Illuminating Citizen Kane through Woody<br />Allen's Zelig." 6.3 (Spring/Summer 1987): 31-44.<br /><br />Rayner, Jonathan. “Conflict and Conspiracy: Public and Personal Memory in Australian<br />Film.” 24:2&3 (Winter/Spring & Summer 2005): 82-93.<br /><br />Reed, Cory. "Batman Returns: From the Comic(s) to the Grotesque." 14.3 (Summer<br />1995): 37-50.<br /><br />Rennert, Hal H. "Transformations: Thoughts Regarding Film Title Translations." 1.1<br />(Fall 1981): 33-35.<br /><br />Rhodes, Gary D. “Mockumentaries and the Production of Realist Horror.” 21.3 (Summer<br />2002): 46-60.<br /><br />Richie, Donald. "New Japanese Cinema." 18.1 (Fall 1998): 8-10.<br /><br />---. "The Men Who Tread on the Tiger's Tail: Kurosawa and the Theatre." 20.1 (Fall<br />2000): 7-9.<br /><br />Ridgway, Franklin. “‘You Come Back!’; or, Mulholland Trieb. 26.1 (Fall 2006): 43-61.<br /><br />Rimer, Thomas J. "A note on The Lower Depths (Donzoko) of Kurosawa Akira." 20.1<br />(Fall 2000): 46-52.<br /><br />Roche, David. “David Cronenberg's Having to Make the Word Be Flesh.” 23.2<br />(Winter/Spring 2004):<br /><br />Roche, Mark W. "Hitchcock and the Transcendence of Tragedy: I Confess as Speculative<br />Art." 10.3 (Summer, 1991): 30-37.<br /><br />Rockett, Will H. "Landscape and Manscape: Reflection and Distortion in Horror Films."<br />3.1 (Fall 1983): 19-34.<br /><br />Rodríguez, Hector. "Organizational Hegemony in the Hong Kong Cinema." 19.1 (Fall<br />1999):107-119.<br /><br />Rohringer, Margit. “The Making of History: The Different Faces of the So-Called<br />Revolution in Romania.” 26.3 (Summer 2007): 75-87.<br /><br />Rombes, Nicholas. “A through S(e7en): A Racial Taxonomy of Serial Killer Cinema.”<br />22.2 (Winter/Spring 2003): 81-90.<br /><br />Romero, Rolando J. "The Postmodern Hybrid: Do Aliens Dream of Alien Sleep?" 16.1<br />(Fall 1996): 41-52.<br /><br />Ross, T. J. "Ran and Others: The Twenty-Third New York Film Festival." 5.2 (Winter<br />1986): 47-63.<br /><br />Roth, Paul A. "Virtue and Violence in Peckinpah's The Wild Bunch." 7.2 (Winter 1988):<br />29-42.<br /><br />Rubinstein, E. "End of Screwball Comedy: The Lady Eve and The Palm Beach Story,<br />The." 1.3 (Spring/Summer 1982): 33-48.<br /><br />Rueschmann, Eva. “Out of Place: Reading (Post)Colonial Landscapes as Gothic Space in<br />Jane Campion’s Films.” 24:2&3 (Winter/Spring & Summer 2005): 8-21.<br /><br />Ruppert, Peter. "Fassbinder's Despair: Hermann Hermann Through The Looking-Glass."<br />3.2 (Winter,1984): 48-64.<br /><br />Sanderson, Jill and Cecil Johnson. "Clint Eastwood's Last Cowboy: The Bridges of . . . . .<br />Madison County." 19.3 (Summer 2000): 41-57.<br /><br />Sanjek, David. "Hysterical Imagination: The Horror Films of Oliver Stone, The." 12.1<br />(Fall 1992): 47-60.<br /><br />---. "It Could Have Been Worse: Robert Altman's O. C. and Stiggs." 13.3 (Summer<br />1994): 39-53.<br /><br />Sartre, Jean-Paul trans. Dana Polan. "Citizen Kane." 7.1 (Fall 1987): 60-65.<br /><br />Schaub, Joseph Christopher. "Generation: The Evolution of Women's Roles in Two<br />Films by Masayuki Suo." 18.1 (Fall 1998): 89-100.<br /><br />Schmertz, Johanna. "On Reading the Politics of Total Recall." 12.3 (Summer 1993):<br />34-42.<br /><br />Schneider, Steven Jay. "Kevin Williamson and the Rise of the Neo-Stalker." 19.2 . .<br />(Winter/Spring 2000): 73-87.<br /><br />---. “Introduction, Pt. I: Dimensions of the Real.” 21.3 (Summer 2002): 3-7.<br /><br />---. “Introduction, Pt. II: Serial Killer Film and Television.” 22.2 (Winter/Spring 2003):<br />3-6.<br /><br />Sears, John. “‘In His Own Image’: Genre, Memory and Doubling in Schwarzenegger's<br />Films.” 22.3 (Summer 2003): 104-114.<br /><br />Selig, Michael. "Rhetoric of Documentary, The." 9.1 & 2 (Fall 1989/Winter 1990):<br />99- 122.<br /><br />Senzani, Alessandra. “Dreaming Back: Tracey Moffatt’s Bedeviling Films.” 27.1 (Fall<br />2007): 50-71.<br /><br />Sharma, Shalja. "Fassbinder's Ali and the Politics of Subject-Formation." 14.1 & 2<br />(Winter/Spring 1995): 104-116.<br /><br />Shary, Timothy. "Angry Young Woman: The Emergence of the 'Tough Girl' Image in<br />American Teen Films." 19.2 (Winter/Spring 2000): 49-61.<br /><br />Shen, Shiao-Ying. "Locating Feminine Writing in Taiwan Cinema: A Study of Yang<br />Hui-shan's Body and Sylvia Chang's Siao yu." 20.2 & 3 (Winter/Spring &<br />Summer 2001): 115-123.<br /><br />Shichtman, Martin B. "Hollywood's New Weston: The Grail Myth in Francis Ford<br />Coppola's Apocalypse Now and John Boorman's Excalibur." 4.1 (Fall 1984):<br />35-48.<br /><br />Shokoff, James. "Kockenlocker by Any Other Word: The Democratic Comedy of Preston<br />Sturges, A." 8.1 (Fall 1988): 16-28.<br /><br />Shoos, Diane and Diana George. "Top Gun and Postmodern Mass Culture Aesthetics."<br />9.3 (Summer 1990): 21-35.<br /><br />Simpson, Philip L. “America's Scariest Home Videos: Serial Killers and Reality<br />Television.” 22.2 (Winter/Spring 2003): 103-123.<br /><br />Sinka, Margit M. "Viewer as Reader, The: Herzog's Stroszek in Film and Prose." 7.3<br />(Summer 1988): 27-41.<br /><br />Skonieczny, Jason Mark. “Los Angeles Documents the Virtual: Xan Cassavetes and<br />Thom Anderson Between Docutainment and Machinima.” 26.3 (Summer 2007):<br />34-52.<br />Smaill, Belinda. “Three Australian Documentaries: Diaspora and Subjectivity.” 24:2&3<br />(Winter/Spring & Summer 2005): 22-34.<br /><br />Smith, Angela Marie. “Impaired and Ill at Ease: New Zealand’s Cinematics of<br />Disability.” 24:2&3 (Winter/Spring & Summer 2005): 64- 81.<br /><br />Smith, Murray. "Cognition, Emotion and Cinematic Narrative." 13.1 (Fall 1993): 30-46.<br /><br />Smorodinskaya, Tatiana. “Adapting Chekhovian Mood.” 23.3 (Summer 2004):73-86.<br /><br />Snyder, Stephen. "Wim Wenders: The Hunger Artist in America." 6.2 (Winter 1987):<br />54-62.<br /><br />Sobchack, Vivian. "Toward a Phenomenology of Cinematic and Electronic Presence: The<br />Scene of the Screen." 10.1 (Fall 1990): 50-59.<br /><br />Spitz, Ellen Handler. "On Interpretation of Film as Dream: The French Lieutenant's<br />Woman." 2.1 (Fall 1982): 13-29.<br /><br />---. "Carpe Diem, Carpe Mortem: Reflections on Dead Poets Society." 11.3 (Summer<br />1992): 19-31.<br /><br />Srinivas, S.V. “Stars and Mobilization in South India: What Have Films Got to Do With<br />It?” 25.3 (Summer 2006): 30-47.<br /><br />Starks, Lisa. "Educating Eliza: Fashioning the Model Woman in the 'Pygmalion Film.'"<br />16.2 (Winter/Spring 1997): 44-55.<br /><br />---. "The Veiled (Hot) Bed of Race and Desire: Parker's Othello and the Stereotype as<br />Screen Fetish." 17.1 (Fall 1997): 64-78.<br /><br />---. "Shakespeare and Film: Derivatives and Variations—An Introduction." 17.2<br />(Winter/Spring 1998): 3-7.<br /><br />Stashowski, Andrea. "Film and Phenomenology: Being-in-the-World of Herzog's<br />Aguirre, Wrath of God." 7.3 (Summer 1988): 14-26.<br /><br />Steffen-Fluhr, Nancy. “Disabled by Desire: Body Doubles in "Rear Window" (1942),<br />Rear Window (1954), and Rear Window (1998).” 22.3 (Summer 2003): 69-88.<br /><br />Stubblefield, Thomas. “Ritwik Ghatak and the Role of Sound in Representing Post-<br />Partition Bengal. 25.3 (Summer 2006): 17-29.<br /><br />Studlar, Gaylyn. "Seduced and Abandoned? Feminist Film Theory and Psychoanalysis in<br />the 1990s." 14.1 & 2 (Winter/Spring 1995): 5-13.<br /><br />Sweeney, Kevin W. “The Horrific in Sluizer's The Vanishing.” 21.3 (Summer 2002):<br />99-110.<br /><br />Taylor, Greg. “Approaching the Cinema of Silence.” 26.2 (Winter/Spring 2007): 52-71.<br /><br />Taylor, Henry M. “More than a Hoax: William Karel’s Critical Mockumentary Dark<br />Side of the Moon.” 26.3 (Summer 2007): 88-101.<br /><br />Tcheuyap, Alexie. “African Cinema and the Politics of Adaptation.” 23.3 (Summer<br />2004): 36-49.<br /><br />Telotte, J. P. "Gold Digger Aesthetic: The Depression Musical and Its Audience, A." 1.1<br />(Fall 1981): 18-24.<br /><br />---. "Val Lewton's Children: Horror, Innocence and Maturity." 1.2 (Winter 1982): 46-61.<br /><br />---. "Dark Patches: Structures of Absence in Lewton's Cat People." 2.1 (Fall 1982):<br />40-59.<br /><br />---. "Film and/as Technology: An Introduction." 10.1 (Fall 1990): 3-8.<br /><br />---. "Annual Bibliography of Film Studies, 1982." 2.3 (Spring/Summer 1983): 33-59.<br /><br />---. "Annual Bibliography of Film Studies, 1983." 3.3 (Spring/Summer 1984): 24-54.<br /><br />---. "Annual Bibliography of Film Studies, 1984." 4.3 (Spring/Summer 1985): 29-30.<br /><br />---. "Annual Bibliography of Film Studies, 1985." 5.3 (Spring/Summer 1986): 60-79.<br /><br />---. "Annual Bibliography of Film Studies, 1986." 6.3 (Spring/Summer 1987): 67-89.<br /><br />---. "Annual Bibliography of Film Studies, 1987." 7.3 (Summer 1988): 42-65.<br /><br />---. "Annual Bibliography of Film Studies, 1988." 8.3 (Summer 1989): 40-69.<br /><br />---. "Annual Bibliography of Film Studies, 1989." 9.3 (Summer 1990): 56-88.<br /><br />---. "Annual Bibliography of Film Studies, 1990." 10.3 (Summer 1991): 49-76.<br /><br />---. "Annual Bibliography of Film Studies, 1991." 11.3 (Summer 1992): 53-80.<br /><br />---. "Annual Bibliography of Film Studies, 1992." 12.3 (Summer 1993): 53-79.<br /><br />---. "Annual Bibliography of Film Studies, 1993." 13.3 (Summer 1994): 62-85.<br /><br />---. "Annual Bibliography of Film Studies, 1994." 14.3 (Summer 1995): 51-74.<br /><br />---. "Annual Bibliography of Film Studies, 1995." 15.3 (Summer 1995): 54-84.<br /><br />---. "Annual Bibliography of Film Studies, 1996." 16.3 (Summer 1996): 68-96.<br /><br />---. "Annual Bibliography of Film Studies, 1997." 17.3 (Summer 1997): 69-100.<br /><br />---. "Annual Bibliography of Film Studies, 1998." 18.3 (Summer 1998): 58-98.<br /><br />---. "Annual Bibliography of Film Studies, 1999." 19.3 (Summer 2000): 67-96.<br /><br />---. “Annual Bibliography of Film Studies, 2000.” 21.1 (Fall 2001): 43-71.<br /><br />---. “Annual Bibliography of Film Studies, 2001.” 22.1 (Fall 2002): 54-81.<br /><br />---. “Annual Bibliography of Film Studies, 2002.” 23.1 (Fall 2003): 51-78.<br /><br />---. "Annual Bibliography of Film Studies, 2003.” 24.1 (Fall 2004): 82-107.<br /><br />---. "Annual Bibliography of Film Studies, 2004.” 25.1 (Fall 2005): 76-95.<br /><br />---. "Annual Bibliography of Film Studies, 2005." 26.1 (Fall 2006): 66-94.<br /><br />---. “Annual Bibliography of Film Studies, 2006.” 27.1 (Fall 2007): 110-136.<br /><br />Testa, Bart. "Technology's Body: Cronenberg, Genre, and the Canadian Ethos." 15.1<br />(Fall 1995): 38-56.<br /><br />Thiessen, Randy. "Deconstructing Masculinity in Porky's." 18.2 (Winter/Spring 1998):<br />64-74.<br /><br />Thompson, Currie K. "Against All Odds: Argentine Cinema, 1976 - 1991." 11.3<br />(Summer 1992): 32-45.<br /><br />---. “Remaking Buenos Aires: Argentine Film from Tango to Kilómetro 111.” 21.1 (Fall<br />2001): 24-30.<br /><br />Tian, Yu. “From Red Sorghum to Devils on the Doortep: Conceptual Evolution in<br />Chinese Film Adaptation.” 23.3 (Summer 2004): 64-72.<br /><br />Toles, George. "From Archangel to Mandragora in Your Own Backyard: Collaborating<br />with Guy Maddin." 18.2 (Winter/Spring 1998): 52-63.<br /><br />Tomasulo, Frank P. "Intentionality of Consciousness: Subjectivity in Resnais's Last Year<br />at Marienbad, The." 7.2 (Winter 1987): 58-71.<br /><br />Turner, Jack. "Passenger, The, Lacan, and the Real." 9.1 & 2 (Fall 1989/Winter 1990):<br />53-66.<br /><br />Tutt, Ralph. "Realism and Artifice in Jean Renoir's The Southerner." 8.2 (Winter 1989):<br />36-55.<br /><br />Udden, James. “The Stubborn Persistance of the Local in Wong Kar-wai.” 25.2<br />(Winter/Spring 2006): 67-79.<br /><br />Vacche, Angela Dalle. "Murnau's Nosferatu: Romantic Painting as Herror and Desire in<br />Expressionist Cinema." 14.3 (Summer 1995): 25-36.<br /><br />Varnell, Margaret A. "A Note on Richard III (1912)." 17.1 (Fall 1997): 88-90.<br /><br />Vernon, Kathleen M. “Review Essay: Recent Books on Spanish Cinema in the 1990s: A<br />Global Perspective.” 21.2 (Winter/Spring 2002): 90-100.<br /><br />Vogel, Steven. "Ontological Critique in the Work of Werner Herzog." 7.3 (Summer<br />1988): 2-13.<br /><br />Von Mueller, Eddy. "Naked Swords: The Zen Warrior Tradition and the Intertextual<br />Odyssey of the Nameless Ronin in Seven Samurai, Yojimbo, and Sanjuro." 20.1<br />(Fall 2000): 53-67.<br /><br />Walsh, Michael. "Returns in the Real: Lacan and the Future of Psychoanalysis in Film<br />Studies." 14.1 & 2 (Winter/Spring 1995): 22-32.<br /><br />West, Nancy and V. Penelope Pelizzon. “‘A Perfect Double Down to the Last Detail’:<br />Photography and the Identity of Film Noir.” 22.3 (Summer 2003): 34-45.<br /><br />Westphal, Richard. "When the Screaming Stops: A Look at Blow Out." 2.1 (Fall 1982):<br />30-39.<br /><br />White, Susan. "I Burn for Him: Female Masochism and the Iconography of Melodrama<br />in Stahl's Back Street (1932)." 14.1 & 2 (Winter/Spring 1995): 59-81.<br /><br />Whiteman, David. “The Evolving Impact of Documentary Film: Sacrifice and the Rise<br />of Issue-Centered Outreach.” 26.3 (Summer 2007): 62-74.<br /><br />Williams, Bruce. "Slippery When Wet: En-Sexualized Transgressions in the Films of<br />Pedro Almodovar." 14.3 (Summer 1995): 3-13.<br /><br />---. "'Life is Very Precious, Even Right Now': (Un)Happy Camping in the New German<br />Cinema." 16.3 (Summer 1997): 51-64.<br /><br />---. “Something Borrowed, Something Blue: Robert Van Ackeren's Deutschland Privat<br />and the Economics of Eroticism.” 22.1 (Fall 2002): 45-53.<br /><br />Williams, G. Christopher. “Factualizing the Tattoo: Actualizing Personal History<br />Through Memory in Christopher Nolan's Memento.” 23.1 (Fall 2003): 27-36.<br /><br />Williams, Tony. “Hong Kong Social Horror: Tragedy and Farce in Category 3.” 21.3<br />(Summer 2002): 61-71.<br /><br />Wong, Cindy Hing-Yuk. "Cities, Cultures and Cassettes: Hong Kong Cinema and<br />Transnational Audiences." 19.1 (Fall 1999): 87-106.<br /><br />Wood, Robert E. "Cloven Hoofer: Choreography as Autobiography in All That Jazz." 6.2<br />(Winter 1987): 43-53.<br /><br />---. "Somebody Has To Die: Basic Instinct as White Noir." 12.3 (Summer 1993): 43-51.<br /><br />Woodward, Katherine S. "European Anti-Melodrama: Godard, Truffaut, and Fassbinder."<br />3.2 (Winter 1984): 34-47.<br /><br />---. "Feminist Film Criticism: An Introduction." 10.2 (Winter 1991): 3-4.<br /><br />---. "Female Naming: The Emergence of a Second Story in It Should Happen to You."<br />10.2 (Winter 1991): 64-76.<br /><br />Worland, Rick. “Faces Behind the Mask: Vincent Price, Dr. Phibes, and the Horror<br />Genre in Transition.” 22.2 (Winter/Spring 2003): 20-33.<br /><br />Yacowar, Maurice. "Beyond Parody: Woody Allen in the 80s." 6.2 (Winter 1987): 29-42.<br /><br />Yamamoto, Fumiko Y. "Heisei tanuki-gassen: pon poko." 18.1 (Fall 1998): 59-67.<br /><br />Yeh Yueh-yu. "A Life of Its Own: Musical Discourses in Wong Kar-Wai's Films." 19.1<br />(Fall 1999): 120-136.<br /><br />Yiu-wai, Chu. "(In)authentic Hong Kong: The '(G)local' Cultural Identity in Postcolonial<br />Hong Kong Cinema." 20.2 & 3 (Winter/Spring & Summer 2001): 147-158.<br /><br />Young, Mallory and Suzanne Ferriss. “Chick Flicks and Chick Culture.” 27.1 (Fall<br />2007): 32-49.<br /><br />Yueh-Yu, Yeh. "A Life of Its Own: Musical Discourses in Wong Kar-Wai's Films." 19.1<br />(Fall 1999): 120-136.<br /><br />Zhen, Zhang. "Bodies in the Air: The Magic of Science and the Fate of the Early 'Martial<br />Arts' Film in China." 20.2 & 3 (Winter/Spring & Summer 2001):61-76.<br /><br />Zucker, Carole. "Illusion of the Ordinary: John Cassavetes and the Transgressive Impulse<br />in Performance and Style, The." 11.2 (Winter 1992): 20-26.<br /><br />---. "Introduction: Film Acting." 12.2 (Winter 1993): 3-4.<br /><br />---. "The Concept of 'Excess' in Film Acting: Notes Toward an Understanding of Non-<br />naturalistic Performance." 12.2 (Winter 1993): 54-62.Postscript Editorhttp://www.blogger.com/profile/15500916931020851859noreply@blogger.comtag:blogger.com,1999:blog-2319737045197996395.post-15160587263757309572008-04-10T14:30:00.001-07:002008-08-08T15:32:34.870-07:00Call For Papers<p class="MsoNormal"><b><span style="font-family:arial;"><span style="font-size:130%;">SPECIAL ISSUE: <i>JAPANESE POPULAR CULTURE IN FILMS: CROSS-CULTURAL AND INTERDISCIPLINARY APPROACHES </i><?xml:namespace prefix = o /><o:p></o:p></span></span></b></p><p class="MsoNormal"><b><i><o:p><span style="font-family:arial;font-size:130%;"></span></o:p></i></b></p><p class="MsoNormal"><span style="font-family:arial;"><span style="font-size:130%;"><i>POST SCRIPT</i> welcomes manuscripts that deal with any aspect of the subject, especially the intercultural or cross-disciplinary influence of Japanese popular culture on films that addresses the following questions: How have film genres like anime and science fiction, so important in Japanese popular culture, helped non-Japanese filmmakers find new ways to shape subject matter? How have manifestations of Japanese popular culture as iconic as comics, music, fashion and computer games influenced narrational strategies in non-Japanese or Japanese films? <span style="color:black;">How are the cinematic exchanges between <?xml:namespace prefix = st1 /><st1:country-region st="on"><st1:place st="on">Japan</st1:place></st1:country-region> and other nations at the level of popular culture similar to or different from exchanges in related<o:p></o:p></span></span></span></p><p class="MsoNormal"><span style="color:black;"><span style="font-family:arial;"><span style="font-size:130%;">art forms (theater, literature, painting, etc.)?<o:p></o:p></span></span></span></p><p class="MsoNormal"><span style="font-family:arial;font-size:130%;color:red;"><o:p></o:p></span></p><p class="MsoNormal"><span style="font-family:arial;font-size:130%;">The deadline for manuscripts—up to 20 pages (5,000 words) and in MLA style—is January 31, 2008. Book reviews (up to 1,000 words) and substantive interviews are also welcome. The tentative date of publication is summer 2008. </span></p><p class="MsoNormal"><i><o:p><span style="font-family:arial;font-size:130%;"></span></o:p></i></p><p class="MsoNormal"><span style="font-family:arial;"><span style="font-size:130%;"><i>POST SCRIPT</i> is a referred journal. </span></span></p><p class="MsoNormal"><span style="font-family:arial;font-size:130%;">A disk version and two hard copies of the manuscript with author identification on a separate cover sheet should be submitted to: </span></p><p class="MsoNormal"><span style="font-family:arial;font-size:130%;">Keiko McDonald (</span><a href="mailto:keiko@pitt.edu"><span style="TEXT-DECORATION: none;font-family:arial;font-size:130%;" >keiko@pitt.edu</span></a><span style="font-family:arial;font-size:130%;">). Guest Editor, <i>POST SCRIPT</i>, Department of East Asian Languages and Literatures, OEH 702, <st1:placetype st="on">University</st1:placetype> of <st1:placename st="on">Pittsburgh</st1:placename>, <st1:place st="on"><st1:city st="on">Pittsburgh</st1:city>, <st1:state st="on">PA</st1:state> <st1:postalcode st="on">15260</st1:postalcode></st1:place>.</span></p><p class="MsoNormal"><o:p><span style="font-family:arial;font-size:130%;"></span></o:p></p><p class="MsoNormal"><span style="font-family:arial;font-size:130%;">The manuscript should also be accompanied by a one-paragraph profile of the author on a separate sheet.</span></p><p class="MsoNormal"><o:p><span style="font-family:arial;font-size:130%;"></span></o:p></p><p class="MsoNormal"><span style="font-family:arial;font-size:130%;">Questions<i> </i>about <i>Post Script: Essays in Film and the Humanities</i> should be directed to Gerald Duchovnay, General Editor, at: </span><a href="mailto:Gerald_Duchovnay@tamu-commerce.edu"><span style="TEXT-DECORATION: none;font-family:arial;font-size:130%;color:windowtext;" >Gerald_Duchovnay@tamu-commerce.edu</span></a><span style="font-family:arial;font-size:130%;">. The</span></p><p class="MsoNormal"><span style="font-family:arial;font-size:130%;">journal’s website is: http://www.tamu-commerce.edu/litlang/PostScript.htm.</span></p>Postscript Editorhttp://www.blogger.com/profile/15500916931020851859noreply@blogger.comtag:blogger.com,1999:blog-2319737045197996395.post-89689011498896746002008-04-10T13:03:00.000-07:002008-08-12T19:44:58.006-07:00HOME<span style="font-family:Arial,Helvetica,sans-serif;font-size:85%;"><p align="center"><img height="138" alt="Post Script" hspace="5" src="http://lh6.ggpht.com/postscript.essay/SJzBvcC8VuI/AAAAAAAAAJM/7DvWQwyJF8k/s288/PostScript.jpg" width="95" align="left" vspace="2" /></p></span><p align="left"><span style="font-family:arial;font-size:130%;">POST SCRIPT welcomes manuscripts on film as language and literature; acting; film music; film as visual art (painting and cinematic style, set design, costuming); film and photography; film history; aesthetics; the response of film nd the humanities to technology; interdisciplinary studies in theme and genre; film and American Studies; reappraisals of seminal essays; book reviews and interviews; and responses to articles appearing in POST SCRIPT.</span></p><p align="left"><span style="font-family:Arial;font-size:130%;">________________________________________________________________</span></p><p align="left"></p><p align="left"><span style="font-family:Arial;font-size:130%;"></span></p><p align="left"></p><p align="center"><span style="font-size:180%;color:#ff0000;"><strong>**</strong></span> <a href="http://postscriptessays.blogspot.com/2008/04/call-for-papers.html"><span style="font-family:Arial, Helvetica, sans-serif;font-size:180%;">CURRENT CALL FOR PAPERS</span></a><span style="font-size:180%;"> <span style="color:#ff0000;"><strong>**</strong></span></span></p><div></div><div style="TEXT-ALIGN: center"></div><br /><div style="TEXT-ALIGN: left"></div>Postscript Editorhttp://www.blogger.com/profile/15500916931020851859noreply@blogger.comtag:blogger.com,1999:blog-2319737045197996395.post-49630088527124616122008-04-09T22:38:00.001-07:002008-08-08T15:32:52.963-07:00CONTACT<span style="font-family:arial;font-size:130%;">All correspondence should be addressed to:<br /><br />Gerald Duchovnay<br />General Editor<br />POST SCRIPT<br />Literature and Languages Department<br />Texas A&M University-Commerce<br />Commerce, Texas 75429<br /></span><span style="font-family:Arial,Helvetica,sans-serif;font-size:85%;"><a href="mailto:Gerald_Duchovnay@tamu-commerce.edu"><u><span style="font-family:arial;font-size:130%;">Gerald_Duchovnay@tamu-commerce.edu.</span></u></a> </span>Postscript Editorhttp://www.blogger.com/profile/15500916931020851859noreply@blogger.comtag:blogger.com,1999:blog-2319737045197996395.post-16894777472754931522008-04-09T22:37:00.006-07:002008-08-08T15:47:34.775-07:00SUBMISSIONS<span style="font-family:arial;font-size:130%;">Please submit all manuscripts in triplicate, with author identification on a separate cover sheet. Include a self-addressed stamped envelope for return of manuscripts. POST SCRIPT is a refereed publication. The interval between acceptance of an article and its publication is 4-24 months. The editors reserve the right to amend the phrasing and punctuation in articles and reviews accepted for publication. </span><br /><br /><strong>***************************</strong><br /><span style="font-family:arial;font-size:130%;">All correspondence should be addressed to: </span><br /><span style="font-family:arial;font-size:130%;"></span><br /><span style="font-family:arial;font-size:130%;">Gerald Duchovnay General Editor POST SCRIPT </span><br /><span style="font-family:arial;font-size:130%;">Literature and Languages Department </span><br /><span style="font-family:arial;font-size:130%;">Texas A&M University-Commerce </span><br /><span style="font-family:arial;font-size:130%;">Commerce, Texas 75429 </span><br /><a href="mailto:Gerald_Duchovnay@tamu-commerce.edu."><span style="font-family:arial;font-size:130%;">Gerald_Duchovnay@tamu-commerce.edu.</span></a><br /><br /><strong>***************************</strong>Postscript Editorhttp://www.blogger.com/profile/15500916931020851859noreply@blogger.comtag:blogger.com,1999:blog-2319737045197996395.post-41660535053284766492008-04-09T22:37:00.005-07:002008-08-08T15:33:29.086-07:00LINKS<span style="font-family:arial;font-size:130%;"><br /></span>Postscript Editorhttp://www.blogger.com/profile/15500916931020851859noreply@blogger.comtag:blogger.com,1999:blog-2319737045197996395.post-63748448204442088772008-04-09T22:37:00.003-07:002008-04-09T22:37:35.871-07:00SEARCHPostscript Editorhttp://www.blogger.com/profile/15500916931020851859noreply@blogger.comtag:blogger.com,1999:blog-2319737045197996395.post-55198979852978456432008-04-09T22:37:00.001-07:002008-08-12T19:48:33.680-07:00ARCHIVE<table cellspacing="0" cellpadding="0" width="100%" border="0"><tbody><tr valign="top" align="left"><td height="30"><p align="center"><span style="font-size:130%;"><a href="http://postscriptessays.blogspot.com/2008/08/articles-bibliographies.html">ARTICLES & BIBLIOGRAPHIES</a> <span style="color:#ff0000;">II </span><a href="http://postscriptessays.blogspot.com/2008/08/special-topic-issues.html">SPECIAL TOPIC VOLUMES</a><br /><br /><a href="http://postscriptessays.blogspot.com/2008/08/book-reviews.html">BOOK REVIEWS</a> <span style="color:#ff0000;">II</span> <a href="http://postscriptessays.blogspot.com/2008/08/forums.html">FORUMS</a> <span style="color:#ff0000;">II</span> <a href="http://postscriptessays.blogspot.com/2008/08/interviews.html">INTERVIEWS</a> <span style="color:#ff0000;">II</span> <a href="http://postscriptessays.blogspot.com/2008/08/recent-issues.html">RECENT ISSUES</a></span></p></td></tr><tr valign="top" align="left"><td><span style="font-size:130%;"><br /></span></td></tr><tr valign="top" align="left"><td height="20"><p style="TEXT-ALIGN: left"><span style="font-family:Arial,Helvetica,sans-serif;font-size:130%;">POST SCRIPT is published three times a year. The annual subscription rate is $15 for individuals in the United States and $25 for institutions. Please add $5 for subscriptions outside the United States. Foreign subscriptions must be paid in U.S. dollars, drawn on a U.S. bank. Back Orders: Most back issues for individuals are $8.50 in the U.S. and $12.00 for institutions. Rates are $13.50 for non-U.S. mailing to individuals and $17.00 for institutions, except for the following:</span></p><div style="TEXT-ALIGN: left"><span style="font-size:130%;"></span></div><p style="TEXT-ALIGN: left"><span style="font-family:Arial,Helvetica,sans-serif;font-size:130%;">These issues are $10 for individuals, $15 for institutions. Add $5 for each copy for non-U.S. mailing</span></p><div style="TEXT-ALIGN: left"><span style="font-size:130%;"></span></div><p style="TEXT-ALIGN: left"><span style="font-size:130%;"><span style="font-family:Arial,Helvetica,sans-serif;">Vol. 9, Nos.1&2 Double general issue<br />Vol. 11, No.2 John Cassavetes<br />Vol. 14, Nos.1&2 Psychoanalysis and Film<br />Vol. 17, No.1 Shakespeare and Film: Adaptations<br />Vol. 17, No.2 Shakespeare and Film: Derivatives and Variations<br />Vol. 19, No.1 Hong Kong Cinema<br />Vol. 20, No.1 Akira Kurosawa<br />Vol. 21, No.2 Spanish Cinema<br />Vol. 23, No.3 Adaptation<br />Vol. 25, No.2 Transnational Cinema<br /></span><small><span style="font-family:arial;">Vol. 25, No. 3 Indian Cinema </span></small><br /></span></p><div style="TEXT-ALIGN: left"><span style="font-size:130%;"></span></div><p style="TEXT-ALIGN: left"><span style="font-family:Arial,Helvetica,sans-serif;font-size:130%;">These are $12.50 for individuals, $17.50 for institutions. Add $5 per copy for non-U.S. mailing</span></p><div style="TEXT-ALIGN: left"><span style="font-size:130%;"></span></div><p style="TEXT-ALIGN: left"><span style="font-family:Arial,Helvetica,sans-serif;font-size:130%;">Vol. 18, No.1 Contemporary Japanese Cinema<br />Vol. 21, No.3 Realist Horror Cinema, Part I<br />Vol. 22, No.2 Realist Horror Cinema, Part II<br /></span></p><div style="TEXT-ALIGN: left"><span style="font-size:130%;"></span></div><p style="TEXT-ALIGN: left"><span style="font-family:Arial,Helvetica,sans-serif;font-size:130%;">These issues are $15 for individuals and $25 for institutions.<br />Please add $5 for non-U.S. mailing.</span></p><div style="TEXT-ALIGN: left"><span style="font-size:130%;"></span></div><p><span style="font-size:130%;"><span style="font-family:Arial,Helvetica,sans-serif;">Vol. 20, Nos.2&3 Chinese Cinema<br />Vol. 24, Nos. 2&3 Australian and New Zealand Cinema<br />Vol. 26, No. 2, Susan Sontag</span><br /></span></p></td></tr><tr valign="top" align="left"><td height="30"><b><span style="COLOR: rgb(51,51,255)"><span style="COLOR: rgb(0,0,0);font-family:Arial,Helvetica,sans-serif;" ><a href="http://www7.tamu-commerce.edu/litlang/Vols21-25.htm#Vol25"><span style="font-size:130%;"></span></a></span></span></b></td></tr><tr valign="top" align="left"><td height="646"><p><span style="font-size:130%;">Most back issues for individuals are $8.50 in the U.S. and $12.00 for institutions. Rates are $13.50 for non-U.S. mailing to individuals and $17.00 for institutions, except for the following:</span></p><p><span style="font-size:130%;">These issues are $10 for individuals, $15 for institutions. Add $5 for each copy for non-U.S. mailing</span></p><p><span style="font-size:130%;">Vol. 9, Nos.1&2 Double general issue<br />Vol. 11, No.2 John Cassavetes<br />Vol. 14, Nos.1&2 Psychoanalysis and Film<br />Vol. 17, No.1 Shakespeare and Film: Adaptations<br />Vol. 17, No.2 Shakespeare and Film: Derivatives and Variations<br />Vol. 19, No.1 Hong Kong Cinema<br />Vol. 20, No.1 Akira Kurosawa<br />Vol. 21, No.2 Spanish Cinema<br />Vol. 23, No.3 Adaptation<br />Vol. 25, No.2 Transnational Cinema<br />Vol. 25, No.3 Indian Cinema<br /></span></p><p><br /><span style="font-size:130%;">**********************<br />These are $12.50 for individuals, $17.50 for institutions. Add $5 per copy for non-U.S. mailing</span></p><p><span style="font-size:130%;">Vol. 18, No.1 Contemporary Japanese Cinema<br />Vol. 21, No.3 Realist Horror Cinema, Part I<br />Vol. 22, No.2 Realist Horror Cinema, Part II</span></p><p><span style="font-size:130%;">**********************<br />These issues are $15 for individuals and $25 for institutions.<br />Please add $5 for non-U.S. mailing</span></p><table width="571" border="0"><tbody><tr><td width="165"><span style="font-size:130%;">Vol. 20, Nos.2&3 </span></td><td width="396"><span style="font-size:130%;">Chinese Cinema</span></td></tr><tr><td><span style="font-size:130%;">Vol. 24, Nos. 2&3 </span></td><td><span style="font-size:130%;">Australian and New Zealand Cinema</span></td></tr><tr><td><span style="font-size:130%;">Vol. 26, No. 2</span></td><td><span style="font-size:130%;">Susan Sontag</span></td></tr></tbody></table><p><span style="font-family:Arial,Helvetica,sans-serif;font-size:130%;">All payment must be in U.S. dollars and drawn on a U.S. bank or international money order. Please mail to: </span></p></td></tr><tr valign="top" align="left"><td height="20"><span style="font-size:130%;"><br /></span></td></tr><tr valign="top" align="left"><td><table cellspacing="0" cellpadding="0" width="100%" border="0"><tbody><tr valign="top" align="left"><td width="15%"><span style="font-size:130%;"><br /></span></td><td width="85%"><span style="font-family:Arial,Helvetica,sans-serif;font-size:130%;">Post Script</span></td></tr><tr valign="top" align="left"><td width="15%"><span style="font-size:130%;"><br /></span></td><td width="85%"><span style="font-family:Arial,Helvetica,sans-serif;font-size:130%;">ATTN: Gerald Duchovnay, General Editor</span></td></tr><tr valign="top" align="left"><td width="15%"><span style="font-size:130%;"><br /></span></td><td width="85%"><span style="font-family:Arial,Helvetica,sans-serif;font-size:130%;">Dept. of Literature and Languages</span></td></tr><tr valign="top" align="left"><td width="15%"><span style="font-size:130%;"><br /></span></td><td width="85%"><span style="font-family:Arial,Helvetica,sans-serif;font-size:130%;">Texas A&M University-Commerce</span></td></tr><tr valign="top" align="left"><td width="15%"><span style="font-size:130%;"><br /></span></td><td width="85%"><span style="font-family:Arial,Helvetica,sans-serif;font-size:130%;">Commerce, Texas 75429-3011</span></td></tr><tr valign="top" align="left"><td width="15%"><span style="font-size:130%;"><br /></span></td><td width="85%"><span style="font-family:Arial,Helvetica,sans-serif;font-size:130%;">U.S.A. </span></td></tr></tbody></table></td></tr><tr valign="bottom" align="left"><td height="20"><span style="font-size:130%;"><br /></span></td></tr><tr valign="top" align="left"><td height="35"><span style="font-family:Arial,Helvetica,sans-serif;"><span style="font-size:130%;">You may also contact Post Script by<br />e-mail: </span><a href="mailto:Gerald_Duchovnay@tamu-commerce.edu"><span style="font-size:130%;">Gerald_Duchovnay@tamu-commerce.edu</span></a><span style="font-size:130%;">.</span></span></td></tr></tbody></table>Postscript Editorhttp://www.blogger.com/profile/15500916931020851859noreply@blogger.comtag:blogger.com,1999:blog-2319737045197996395.post-16483512166785360502008-04-09T22:36:00.002-07:002008-08-08T18:10:40.558-07:00CURRENT<table cellspacing="0" cellpadding="0" width="100%" border="0" height="9216"><tbody><tr><td valign="bottom" align="left" colspan="2" height="802"><p><span style="font-family:Arial, Helvetica, sans-serif;font-size:180%;"><b>POST SCRIPT</b></span><b><br /></b>Essays in Film and the Humanities<br /></p><table width="100%" border="0"><tbody><tr><td width="33%" height="20">Volume 26, No. 2 </td><td width="42%">Winter/Spring 2007</td><td width="25%">ISSN-0277-9897</td></tr></tbody></table><hr style="WIDTH: 100%; HEIGHT: 2px"><br /><table width="571" border="0"><tbody><tr><td width="94">pp. 5-9</td><td width="467">"Susan Sontag and the Criticism of Cinema's Modernity: An Introduction"</td></tr></tbody></table><table width="571" border="0"><tbody><tr><td width="92"></td><td class="author" width="469">Guest Editors: COLIN BURNETT and DUDLEY ANDREW</td></tr><tr><td>pp. 10-23</td><td>"Putting Her Body on the Line: The Critical Acts of Susan Sontag, Part I" </td></tr><tr><td></td><td class="author">JIM MCLAUGHLIN</td></tr><tr><td>pp. 24-40</td><td>"Putting Her Body on the Line: The Critical Acts of Susan Sontag, Part II"</td></tr><tr><td></td><td class="author">JIM MCLAUGHLIN</td></tr><tr><td>pp. 41-51</td><td>"Sontag's Erotics of Film Style: Between Meaning and Presence"</td></tr><tr><td></td><td class="author">CHARLES O'BRIEN</td></tr><tr><td>pp. 52-71</td><td>"Approaching the Cinema of Silence"</td></tr><tr><td></td><td class="author">GREG TAYLOR</td></tr><tr><td>pp. 72-80</td><td>"Sontag and Cinephilia"</td></tr><tr><td></td><td class="author">CHRISTIAN KEATHLEY</td></tr><tr><td>pp. 81-90</td><td>"Sontag, Bresson, and the Unfixable"</td></tr><tr><td></td><td class="author">BRIAN PRICE</td></tr><tr><td>pp. 91-104</td><td>"The Ethics of Seeing: Susan Sontag and Visual Culture Studies"</td></tr><tr><td></td><td class="author">MARC FURSTENAU</td></tr><tr><td>pp. 105-116</td><td>"Sontag's Barthes: A Portrait of the Aesthete"</td></tr><tr><td></td><td class="author">LUCY O'MEARA</td></tr><tr><td>pp. 117-136</td><td>"The Photographic Imagination: Sontag and Benjamin"</td></tr><tr><td></td><td class="author">G. F. MITRANO</td></tr><tr><td>pp. 137-141</td><td>"Some Notes on Antonioni and Others"</td></tr><tr><td></td><td class="author">CALVIN KOFF (aka SUSAN SONTAG)</td></tr><tr><td colspan="2">Book Reviews by:</td></tr><tr><td>pp. 142-146</td><td>Linda Watts on <em>The Man Who Would Marry Susan Sontag and Female Icons: Marilyn Monroe to Susan Sontag</em></td></tr><tr><td>pp. 16-147</td><td>Josh Shepperd on <em>Women</em></td></tr></tbody></table> <table width="100%" border="0"><tbody><tr><td><hr style="WIDTH: 100%; HEIGHT: 2px"></td></tr></tbody></table><table width="100%" border="0"><tbody><tr><td width="33%">Volume 26, No. 1</td><td width="42%">Fall 2006</td><td width="25%">ISSN-0277-9897</td></tr></tbody></table></td><td style="VERTICAL-ALIGN: top" height="802"></td></tr><tr><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" colspan="2" height="21"><hr style="WIDTH: 100%; HEIGHT: 2px"></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td style="vertical-align: top; font-family: arial" height="21" >pg. 3<br /></td><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" width="477" height="21">Bennett Miller: An Interview<br /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td style="VERTICAL-ALIGN: top" face="arial" height="21"><br /></td><td style="VERTICAL-ALIGN: top" face="arial" height="21">Wheeler Winston Dixon<br /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td style="VERTICAL-ALIGN: top" face="arial" height="21">pg. 13<br /></td><td style="VERTICAL-ALIGN: top" face="arial" height="21">Nationalizing and Segregating Performance: Josephine Baker and Stardom in <span style="FONT-STYLE: italic">ZouZou</span> (1934)<br /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21"><br /></td><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21">Scott Balcerzak<br /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21">pg. 32<br /></td><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21">"Mum's the Word": The Trial of Genre in <span style="FONT-STYLE: italic">Dancer in the Dark</span><br /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21"><br /></td><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21">Brenda Austin-Smith<br /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21">pg. 43<br /></td><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21">"You Came Back!"; or, Mulholland Treib<br /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21"><br /></td><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21">Franklin Ridgway<br /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21">pg. 62<br /></td><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21">Book Review- Dames in the Driver's Seat: Rereading Film Noir<br /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21"><br /></td><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21">William B. Covey<br /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21">pg. 66<br /></td><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21">Annual Bibliography of Film Studies- 2005<br /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td style="VERTICAL-ALIGN: top" height="21"><br /></td><td style="VERTICAL-ALIGN: top" height="21"><span style="font-family:arial;">J. P. Telotte</span><br /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td style="VERTICAL-ALIGN: top" height="21"></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td style="VERTICAL-ALIGN: top" colspan="2" height="21"><hr style="WIDTH: 100%; HEIGHT: 2px"></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td style="VERTICAL-ALIGN: top; TEXT-ALIGN: left" colspan="2" height="21"><span style="font-family:arial;">Volume 25, No. 3 Summer 2006 ISSN-0277-9897</span> </td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td style="VERTICAL-ALIGN: top" colspan="2" height="21"><span style="font-family:arial;">Special Issue: Indian Cinema Guest Editors: Frances Gateward & David Desser</span><br /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td style="VERTICAL-ALIGN: top" colspan="2" height="21"><br /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21">pg. 3<br /></td><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21">Introduction: Indian Cinema and Film Studies<br /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21"><br /></td><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21">Frances Gateward and David Desser<br /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21">pg. 7<br /></td><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21">Work, Play and Linguistics Hybridity in Postcolonial India: (DE) Forming the Indian Middle Class in Ray's <span style="FONT-STYLE: italic">Kanchenjungha</span><br /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21"><br /></td><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21">Reena Dube<br /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21">pg. 17<br /></td><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21">Ritwik Ghatak and the Role of Sound in Representing Post-Partition Bengal<br /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21"><br /></td><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21">Thomas Stubblefield<br /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21">pg. 30<br /></td><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21">Stars and Mobilization in South India: What Have Films Got to Do With It?<br /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21"><br /></td><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21">S.V. Srinivas<br /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21">pg. 48<br /></td><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21">A New Universalism: Terrorism and Film Languages in Mani Ratnam's <span style="FONT-STYLE: italic">Kannathil Muthamittal</span><br /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21"><br /></td><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21">Priya Jaikumar<br /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21">pg. 65<br /></td><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21">Mantras of the Metropole: Digital Inscriptions and Mythic Curvatures of Profane Time<br /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21"><br /></td><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21">Anustup Basu<br /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21">pg. 79<br /></td><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21">The Museum as Refuge for Film: The Case of Kumar Shahani's Epic Cinema<br /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21"><br /></td><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21">Laleen Jayamanne<br /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21">pg. 93<br /></td><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21">Bollywood Dreaming: <span style="FONT-STYLE: italic">Kal Ho Naa Ho</span> and the Diasporic Spectator<br /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21"><br /></td><td style="VERTICAL-ALIGN: top; FONT-FAMILY: arial" height="21">Brian Hu<br /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" colspan="2" height="21"></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" colspan="2" height="21"><hr /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" colspan="2" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Volume 25, No. 2 Winter/ Spring 2006 ISSN-0277-9897 </span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td style="FONT-FAMILY: arial" valign="center" align="left" colspan="2" height="21">Special Issue: Transnational Cinema Guest Editor: Leonard R. Koos</td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" colspan="2" height="21"><hr /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 3</span></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Films Without Borders: An Introduction</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><strong>Leonard R. Koos</strong></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 19</span></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">The Cannes Film Festival as Transnational Space</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><strong>Lucy Mazdon </strong></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 31 </span></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Peter Jackson as a Postcolonial Filmaker: National Cinema and Hollywood Genres</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><strong>Mary Alemany-Galway </strong></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 44</span></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><em>Lola and Billy the Kid</em> (1999): A Turkish Director’s Western Showdown in Berlin</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><strong>Roger Hillman </strong></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 56</span></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Stranger than Fiction: Genre and Hybridity in the “Refugee Film”</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><strong>Rebecca Prime </strong></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 67</span></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">The Stubborn Persistence of the Local in Wong Kar-wai</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><strong>James Udden </strong></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 80</span></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Book Review: <em>From Moscow to Madrid: Postmodern Cities, European Cinema</em></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><strong>JeanAnn Dabb</strong></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 82 </span></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Book Review:<em>Between Shanghai and Hong Kong: The Politics of Chinese Cinemas</em></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><strong>Jennifer Forrest </strong></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 84</span></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Book Review:<em>Cinema of Flames: Balkan Film, Culture and the Media</em></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><strong>Valentina Glajar </strong></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 86 </span></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Book Review:<em>Beyond Bollywood: The Cultural Politics of South Asia Diasporic Film </em></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><strong>Leonard R. Koos</strong></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" colspan="2" height="21"></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" colspan="2" height="21"><hr /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" colspan="2" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Volume 25, No. 1 Fall 2005 ISSN-0277-9897 </span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" colspan="2" height="21"><hr /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 3</span></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Christian Nyby: An Interview</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><strong>Ric Gentry </strong></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 22</span></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Reinventing Bird: The Evolving Image of Charlie Parker on Film</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><strong>John P. McCombe</strong></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 38</span></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Spinoza’s Stone: The Logic of <em>Donnie Darko</em></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><strong>Peter Mathews</strong></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="33"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 49</span></td><td align="left" height="33"><span style="font-family:Arial, Helvetica, sans-serif;">Class, Gender, and Genre in Zalman King’s “Real High Erotica”: The Conflicting Mandates of Female Fantasy</span></td><td style="VERTICAL-ALIGN: top" height="33"><br /></td></tr><tr valign="top"><td align="left" height="21"></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><strong>David Andrews </strong></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="36"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 74 </span></td><td align="left" height="36"><span style="font-family:Arial, Helvetica, sans-serif;">Book Review: Allegories of Communication: Intermedial Concerns from Cinema to the Digital</span></td><td style="VERTICAL-ALIGN: top" height="36"><br /></td></tr><tr valign="top"><td align="left" height="21"></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><strong>Dene Grigar </strong></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 76 </span></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Annual Bibliography of Film Studies—2004</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><strong>J.P. Telotte </strong></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" colspan="2" height="21"></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" colspan="2" height="21"><hr /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" colspan="2" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Volume 24, Nos. 2&3 Winter/Spring & Summer 2005 ISSN-0277-9897 </span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" colspan="2" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Special Issues: Australian and New Zealand Cinema Guest Editor: Ian Conrich</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" colspan="2" height="21"><hr /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 3</span></td><td valign="center" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Introduction</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" height="21"></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;">Ian Conrich, Guest Editor</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 8 </span></td><td valign="center" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Out of Place: Reading (Post) Colonial Landscapes as Gothic Space in Jane Campion's Films</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" height="21"></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;">Eva Rueschmann</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 22 </span></td><td valign="center" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Three Australian Documentaries: Diaspora and Subjectivity </span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" height="21"></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;">Belinda Smaill</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 35 </span></td><td valign="center" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Agnetial Mortality: Death, Corporeality, and Identity in Radiance (1997)</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" height="21"></td><td valign="center" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;">Anthony Adah</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 48 </span></td><td valign="center" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">White Lubra/White Savage: Pitury and Colonialist Fantasy in Charles Chauvel's Uncivilised (1936)</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" height="21"></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;">Jeanette Hoorn</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 64 </span></td><td valign="center" align="left" height="21">Impaired and Ill at Ease: New Zealand's Cinematics and Disability</td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" height="21"></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;">Angela Marie Smith</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 82 </span></td><td valign="center" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Conflict and Conspiracy: Public and Personal Memory in Australian Film</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" height="21"></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;">Jonathan Rayner</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 94 </span></td><td valign="center" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Septic Tanks Downunder: Representing American Soldiers as "Other" in Australian Cinema </span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" height="21"></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;">Mick Broderick</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 109 </span></td><td valign="center" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Thematising the Global: Recent Australian Film</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" height="21"></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;">Tanya Dalziell and Tony Hughes-D'Aeth</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 122 </span></td><td valign="center" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Getting to Wellywood: National Branding and the Globalisation of the New Zealand Film Industry</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" height="21"></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;">Jennifer Lawn and Bronwyn Beatty </span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 140 </span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Global Pressure and the Political State: New Zealand's Cinema of Crisis</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" height="21"></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;">Ian Conrich</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" colspan="2" height="21"></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" colspan="2" height="40"><hr /><br />Volume 24, No. 1 Fall 2004 <span style="font-family:Arial, Helvetica, sans-serif;">ISSN-0277-9897</span> </td><td style="VERTICAL-ALIGN: top" height="40"><br /></td></tr><tr><td valign="center" align="left" colspan="2" height="21"><hr /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 3</span></td><td valign="center" align="left" height="21">Vilmos Zsigmond: An Interview</td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" height="21"></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;">Ric Gentry</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 42</span></td><td valign="center" align="left" height="21">Manhunting: The Female Detective in the Serial Killer Film</td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;">Philippa Gates</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 62</span></td><td valign="center" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Ambition and Ideology: Intertextual Clues to A Simple Plan's View of the American Dream</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" height="21"></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;">Jane Hill</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 71</span></td><td valign="center" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">The Animation of Anne: Japanese Anime Encounters the Diary of a Holocaust Icon</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" height="21"></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;">Hema Ramachandran</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 84</span></td><td valign="center" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Annual Bibliography of Film Studies--2003</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" height="21"></td><td valign="center" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;">J. P. Telotte</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" colspan="2" height="21"></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" colspan="2" height="45"><hr /><span style="font-family:Arial, Helvetica, sans-serif;">Volume 23, No. 3</span> Summer 2004 <span style="font-family:Arial, Helvetica, sans-serif;">ISSN-0277-9897</span></td><td style="VERTICAL-ALIGN: top" height="45"><br /></td></tr><tr><td valign="center" align="left" colspan="2" height="21">Specail Issue: Adaptation Guest Editor: Lynn Higgins</td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" colspan="2" height="21"><hr /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 3</span></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Introduction</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><strong>Lynn A. Higgins</strong></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 5</span></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Why Adapt?</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><strong>Linda Hutcheon</strong></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 19</span></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Adaptation as Forgery: The Case of <em>The Talented Mr. Ripley</em></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><strong>Katherine Golsan</strong></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 36</span></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">African Cinema and the Politics of Adaptation</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><strong>Alexie Tcheuyap</strong></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 50</span></td><td align="left" rowspan="2" height="42"><span style="font-family:Arial, Helvetica, sans-serif;">Agnieszka Holland vs William Wyler: On Two Adaptations of Henry Jones's <em>Wasington Square</em></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><strong>Slawomir Bobowski</strong></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 64</span></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">From <em>Red Sorghum </em>to <em>Devils on the Doortep: </em>Conceptual Evolution in Chinese Film Adaptation</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><strong>Yu Tian</strong></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 73</span></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Adapting Chekhovian Mood</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><strong>Tatiana Smorodinskaya</strong></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 87</span></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">The Mystery of the Unsung Song</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><strong>Meredith Kolar</strong></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 99</span></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Post-Literary Adaptation</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" height="21"></td><td align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><strong>Thomas Leithch</strong></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top"><td align="left" colspan="2" height="21"></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" colspan="2" height="21"><hr /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td colspan="2" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Volume 23, No. 2 </span>Winter/Spring 2004 <span style="font-family:Arial, Helvetica, sans-serif;">ISNN-0277-9897 </span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" colspan="2" height="21"><hr /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 3 </span></td><td valign="top" align="left" height="21"><em><span style="font-family:Arial, Helvetica, sans-serif;">The Golden Years: </span></em><span style="font-family:Arial, Helvetica, sans-serif;">An Interview with Ronald Neame</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><strong>Wheeler Winston Dixon</strong></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 19</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Speaking the <em>Mind's Voice:</em> Double Discursivity in Jane Campion's <em>The Piano</em></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;">Erin McGlothlin</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 33</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Mikhail Bakhtin and the Sundance Kid: Generic Dialogue in the Western</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><strong>Michael Dunne</strong></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 48</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Proust and Cinema, or Luchino Visconti's Search </span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><strong>Duncan McColl Chesney</strong></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr valign="top" align="left"><td height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 62</span></td><td height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Sarah's Dream/ <em>No Fate</em>: Doubling in <em>Terminator II</em></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><strong>Christopher Brooks</strong></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 72</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">David Cronenberg's Having to Make the Word Be Flesh</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><strong>David Roche</strong></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 88</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Book Review: <em>Alien Woman: The Making of Lt. Ellen Ripley</em></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><strong>Susan A. George</strong></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="21"><a id="23.1" name="23.1"></a></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="21"><hr /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="23"><table cellspacing="0" cellpadding="0" width="100%" border="0"><tbody><tr><td width="37%"><span style="font-family:Arial, Helvetica, sans-serif;">Volume 23, No. 1</span></td><td width="26%">Fall 2003</td><td width="37%"><span style="font-family:Arial, Helvetica, sans-serif;">ISSN-0277-9897</span></td></tr></tbody></table></td><td style="VERTICAL-ALIGN: top" height="23"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="21"><hr /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 3</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Stanley Kubrick's <em>Eyes Wide Shut: </em>A Masque in Disguise</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">Jane Alison </span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 13</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Roberto Benigni's <em>Life is Beautiful </em>and the Protection of Innocence: Fable, Fairy Tale or Just Excuses?</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">Grace Russo Bullaro</span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 27</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Facualizing the Tattoo: Actualizing Personal History Through Memory in Christopher Nolan's <em>Memento</em></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">G. Christopher Williams</span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 37</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><em>Wings of Desire </em>and the Value of Mortality</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">James Conlon </span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 51</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Annual Bibliography of Film Studies--2002</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">J.P. Telotte </span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" colspan="2" height="19"><span style="font-family:Arial, Helvetica, sans-serif;"><a id="22.3" name="22.3"></a></span></td><td style="VERTICAL-ALIGN: top" height="19"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="21"><hr /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="23"><table cellspacing="0" cellpadding="0" width="100%" border="0"><tbody><tr><td width="37%"><span style="font-family:Arial, Helvetica, sans-serif;">Volume 22, No. 3</span></td><td width="26%">Summer 2003</td><td width="37%"><span style="font-family:Arial, Helvetica, sans-serif;">ISSN-0277-9897</span></td></tr></tbody></table></td><td style="VERTICAL-ALIGN: top" height="23"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="22"><table cellspacing="0" cellpadding="0" width="100%" border="0"><tbody><tr><td width="63%"><span style="font-family:Arial, Helvetica, sans-serif;">Special Issue: The Double in Movies</span></td><td width="37%"><span style="font-family:Arial, Helvetica, sans-serif;">Guest Editor: Francoise Ghillebaert</span></td></tr></tbody></table></td><td style="VERTICAL-ALIGN: top" height="22"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="21"><hr /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 3</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">From <em>Doppelganer</em> to Persona: Acting Becomes <em>the </em>Identity</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">Francoise Ghillebaert </span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 8</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Singling Out the Double: Objectivity, Subjectivity and ALterity in Kieslowski's <em>The Double Life of Veronique</em> </span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">Lihi Nagler </span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 21</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Doubled Lives, Dissimulated History: Hou Hsiao-hsien's <em>Good Men, Good Women</em></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">Jean Y. Ma</span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 34</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><i>"</i>A Perfect Double Down to the Last Detail": Photography and the Indentity of Film Noir</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">V. Penelope Pelizzon and Nancy West</span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 46</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><em>American Psycho: </em>A Double Portrait of Serial Yuppie Patrick Bateman</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">Jaap Kooijman and Tarja Laine</span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 57</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">The Double in Bunuel's <em>That Obscure Object of Desire</em></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">Francoise Ghillebaert </span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 69</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Disabled by Desire: Body Doubles in "Rear Window" (1942), <em>Rear Window </em>(1954), and<em> Rear Window </em>(1998)</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">Nancy Steffen-Fluhr</span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 89</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Doubling, Stardom, and Melodrama in India Cinema: The "Impossible" Role of Nargis </span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">Neepa Majumdar </span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 104</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">"In His Own Image": Genre, Memory and Doubling in Schwarzenegger's Films</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">John Sears</span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 115</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Book Review Laleen Jayamanne's <em>Toward Cinema and Its Double: Cross-Cultural Mimesis</em></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><b>Colin Charlton </b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" colspan="2" height="19"><span style="font-family:Arial, Helvetica, sans-serif;"><a id="22.2" name="22.2"></a></span></td><td style="VERTICAL-ALIGN: top" height="19"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="21"><hr /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="23"><table cellspacing="0" cellpadding="0" width="100%" border="0"><tbody><tr><td width="37%"><span style="font-family:Arial, Helvetica, sans-serif;">Volume 22, No. 2</span></td><td width="26%">Winter/Spring 2003</td><td width="37%"><span style="font-family:Arial, Helvetica, sans-serif;">ISSN-0277-9897</span></td></tr></tbody></table></td><td style="VERTICAL-ALIGN: top" height="23"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="22"><table cellspacing="0" cellpadding="0" width="100%" border="0"><tbody><tr><td width="63%"><span style="font-family:Arial, Helvetica, sans-serif;">Special Issue: Realist Horror Cinema, Part II - Serial Killers</span></td><td width="37%"><span style="font-family:Arial, Helvetica, sans-serif;">Guest Editor: Steven Jay Schneider</span></td></tr></tbody></table></td><td style="VERTICAL-ALIGN: top" height="22"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="21"><hr /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 3</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Introduction, Pt. II: Serial Killer Film and Television</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">STEVEN JAY SCHNEIDER</span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 7</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Horror Beyond the Camera: Cultural Sources of Violence in Hitchcock's Mid-Century America </span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">Thomas Hemmeter </span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 20</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Faces Behind the Mask: Vincent Price, <em>Dr. Phibes</em>, and the Horror Genre in Transition</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">Rick Worland </span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 34</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Monstrosity Without a Body: Representational Strategies in the Popular Serial Killer Film</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">Steffen Hantke </span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 55</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">A Psychological Examination of Serial Killer Cinema: The Case of <em>Copycat</em></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">Carl Goldberg and Virginia Crespo</span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 64</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">On the Road Again: Rehearsing the Death Drive in MOdern Realist Horror Cinema</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">Reynold Humphries </span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 81</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">A through <em>S(e7en)</em>: A Racial Taxonomy of Serial Killer Cinema</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">Nicholas Rombes </span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 92</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">The Life and Crimes of Ben; or, When a Serial Killer Meets a Film Crew in <em>Man Bites Dog</em> </span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">Frank Lafond </span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 103</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">America's Scariest Home Videos: Serial Killers and Reality Television</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">Philip L. Simpson</span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 124</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Review of <em>Seven</em> (BFI Modern Classic)</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">Chrisotpher Sharrett</span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 126</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Review of <em>Psycho Paths: Tracking the Serial Killer Through Contemporary American Film and Fiction</em></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">Robert E. Wood</span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" colspan="2" height="17"><span style="font-family:Arial, Helvetica, sans-serif;"><a id="22.1" name="22.1"></a></span></td><td style="VERTICAL-ALIGN: top" height="17"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="21"><hr /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="23"><table cellspacing="0" cellpadding="0" width="100%" border="0"><tbody><tr><td width="37%"><span style="font-family:Arial, Helvetica, sans-serif;">Volume 22, No. 1</span></td><td width="26%">Fall 2002</td><td width="37%"><span style="font-family:Arial, Helvetica, sans-serif;">ISSN-0277-9897</span></td></tr></tbody></table></td><td style="VERTICAL-ALIGN: top" height="23"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="21"><hr /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 3</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Hawks on Faulkner: Excerpts from an Interview</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">Bruce Kawin </span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 23</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Gender amd the Modern Body: Men, Women, and Machines in Vertov's <em>Man with a Movie Camera</em> </span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><b>Pearl Latteier </b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 35</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><em>Tous les matins du monde: </em>Roland Barthes and the Culture of Musicianship</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">Nicholas O. Pagan</span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 45</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Something Borrowed, Something Blue: Robert Van Ackeren's <em>Deutschland Privat</em> and the Economics of Eroticism</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">Bruce Williams</span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 54</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Annual Bibliography of Film Studies</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">J.P. Telotte </span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" colspan="2" height="20"><span style="font-family:Arial, Helvetica, sans-serif;"><a id="21.3" name="21.3"></a></span></td><td style="VERTICAL-ALIGN: top" height="20"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="21"><hr /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="23"><table cellspacing="0" cellpadding="0" width="100%" border="0"><tbody><tr><td width="36%"><span style="font-family:Arial, Helvetica, sans-serif;">Volume 21, No. 3</span></td><td width="35%">Summer 2002</td><td width="29%"><span style="font-family:Arial, Helvetica, sans-serif;">ISSN-0277-9897</span></td></tr></tbody></table></td><td style="VERTICAL-ALIGN: top" height="23"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="34"><table cellspacing="0" cellpadding="0" width="100%" border="0"><tbody><tr><td width="71%" height="32"><span style="font-family:Arial, Helvetica, sans-serif;">Special Issue: Realist Horror Cinema, Part I - Dimensions of the Real </span></td><td width="29%"><p><span style="font-family:Arial, Helvetica, sans-serif;">Guest Editor: Steven Jay Schneider</span></p></td></tr></tbody></table></td><td style="VERTICAL-ALIGN: top" height="34"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="21"><hr /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" width="97" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 3</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Introduction, Pt. I: Dimensions of the Real</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">STEVEN JAY SCHNEIDER</span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 8</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Join the United Mutations: Tod Browning's <i>Freaks</i></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">BERND HERZOGENRATH </span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 20</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Mario Bava's</span><i><span style="font-family:Arial, Helvetica, sans-serif;"> The Evil Eye</span></i><span style="font-family:Arial, Helvetica, sans-serif;">: Realism and the Italian Horror Film</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">COLETTE BALMAIN </span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 32</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><i>Canibal Holocaust, </i>Realist Horror, and Reflexivity</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">NEIL JACKSON </span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 46</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Mockumentaries and the Production of Realist Horror</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">GARY D. RHODES</span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 61</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Hong Kong Social Horror: Tragedy and Farce in Category 3</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">TONY WILLIAMS </span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 72</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Refiguring Gothic Mythology: The <i>Film Noir-</i>Horror Hybrids of the 1980s</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">JACK MORGAN </span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 87</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Hits, Whacks, and Smokes: The Celluloid Gangster as Horror Icon</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">CATHERINE DON DIEGO</span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 99</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">The Horrific in Sluizer's <i>The Vanishing</i></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">KEVIN W. SWEENEY</span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 111</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">The Mourning of Loss in <i>The Sixth Sense</i></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">MARGUERITE LA CAZE</span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 122</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Living is a Selfish Act: An Interview with Gaspar Noé</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">MITCH DAVIS </span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 131</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Review of <i>Killing for Culture: An Illustrated History of Death Film from Mondo to Snuff</i></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">KEN GELDER </span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 133</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Reply to Gelder</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">DAVID KEREKES</span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 134</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Review of Mythologies of Violence in Postmodern Media</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">MATT HILLS </span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><a href="http://www7.tamu-commerce.edu/litlang/CurrentIssue.htm#"><img height="1" src="http://www7.tamu-commerce.edu/litlang/transparent.gif" width="1" border="0" /></a></span></td><td valign="top" align="left" height="21"></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="21"><hr /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="23"><table cellspacing="0" cellpadding="0" width="100%" border="0"><tbody><tr><td width="37%"><span style="font-family:Arial, Helvetica, sans-serif;">Volume 21, No. 2</span></td><td width="26%">Winter/Spring 2002</td><td width="37%"><span style="font-family:Arial, Helvetica, sans-serif;">ISSN-0277-9897</span></td></tr></tbody></table></td><td style="VERTICAL-ALIGN: top" height="23"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="22"><table cellspacing="0" cellpadding="0" width="100%" border="0"><tbody><tr><td><span style="font-family:Arial, Helvetica, sans-serif;">Special Issue: Spanish Cinema</span></td><td><span style="font-family:Arial, Helvetica, sans-serif;">Guest Editor: Marvin D'Lugo</span></td></tr></tbody></table></td><td style="VERTICAL-ALIGN: top" height="22"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="21"><hr /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 3</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Recent Spanish Cinema in National and Global Contexts</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">MARVIN D'LUGO </span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 12</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Alejandro Amenábar's <i>Tesis: </i>Art, Commerce, and Renewal in Spanish Cinema</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">CHRISTINA A. BUCKLEY</span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 26</span></td><td valign="top" align="left" height="21"><i><span style="font-family:Arial, Helvetica, sans-serif;">Solas: </span></i><span style="font-family:Arial, Helvetica, sans-serif;">Andalusian Mothers in a Global Context</span><i><span style="font-family:Arial, Helvetica, sans-serif;"> </span></i></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">GERARD DAPENA </span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="40"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 38</span></td><td valign="top" align="left" height="40"><span style="font-family:Arial, Helvetica, sans-serif;">In Modernity's Wake: Transculturality, Deterriotorialization and the Question of Community in Icíar Bollaín's <i>Las flores de otro mundo (Flowers from Another World)</i></span></td><td style="VERTICAL-ALIGN: top" height="40"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">PARVATI NAIR </span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 50</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Hitting the Mark from Television to Film: Violence, Timing, and the Comedy Team in Alex de la Iglesia's <i>Muertos de Risa (1999)</i></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">DONA M. KERCHER</span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 64</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Juanma Bajo Ulloa's <i>Airbag</i> and the Politics of Spanish Regional Autorship</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">ROSANNA MAULE </span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 78</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">The Geopolitical Aesthetic in Recent Spanish Films</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">Marvin D'Lugo </span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 90</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Review Essay</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Recent Books on Spanish Cinema in the 1990s: A Global Perspective</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">KATHLEEN M. VERNON</span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"></td><td valign="top" align="left" height="21"><br /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="21"><hr /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="22"><table cellspacing="0" cellpadding="0" width="100%" border="0"><tbody><tr><td><span style="font-family:Arial, Helvetica, sans-serif;">Volume 21, No. 1</span></td><td><span style="font-family:Arial, Helvetica, sans-serif;">Fall 2001</span></td><td><span style="font-family:Arial, Helvetica, sans-serif;">ISSN-0277-9897</span></td></tr></tbody></table></td><td style="VERTICAL-ALIGN: top" height="22"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="21"><hr /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="25"><span style="font-family:Arial, Helvetica, sans-serif;"><b>Contents</b></span></td><td style="VERTICAL-ALIGN: top" height="25"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 3</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">No More Excuses: An Interview with Robert Downey, Sr.</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">WHEELER WINSTON DIXON</span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 14</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Jamie Babbit: An Interview</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">WHEELER WINSTON DIXON</span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 24</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Remaking Buenos Aires: Argentine Film from <i>Tango </i>to <i>Kilómetro 111</i></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">CURRIE K. THOMPSON</span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 31</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">A Bergsonian Film: <i>The Picasso Mystery</i></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">ANDRE BAZIN. Tranlated & Edited by BERT CARDULLO</span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 39</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Book Review</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><i>Orson Welles, Shakespeare, and Popular Culture</i></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">LELAND POAGUE </span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 43</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Annual Bibliography of Film Studies - 2000</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">J. P. TELOTTE</span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 72</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><i>Post Script </i>Index: The First Twenty Years (1981-2001)</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">COMPILED BY GERALD DUCHOVNAY</span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"></td><td valign="top" align="left" height="21"><br /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" colspan="2" height="21"><hr /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="22"><table cellspacing="0" cellpadding="0" width="100%" border="0"><tbody><tr><td width="30%"><span style="font-family:Arial, Helvetica, sans-serif;">Volume 20, Nos. 2&3</span></td><td width="34%"><span style="font-family:Arial, Helvetica, sans-serif;">Winter/Spring & Summer 2001</span></td><td width="36%"><span style="font-family:Arial, Helvetica, sans-serif;">ISSN-0277-9897</span></td></tr></tbody></table></td><td style="VERTICAL-ALIGN: top" height="22"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="22"><table cellspacing="0" cellpadding="0" width="100%" border="0"><tbody><tr><td><span style="font-family:Arial, Helvetica, sans-serif;">Special Double Issue: Chinese Cinema</span></td><td><span style="font-family:Arial, Helvetica, sans-serif;">Guest Editors: Sheldon H. Lu and Yeh Yueh-yu </span></td></tr></tbody></table></td><td style="VERTICAL-ALIGN: top" height="22"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="21"><hr /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="25"><span style="font-family:Arial, Helvetica, sans-serif;"><b>Contents</b></span></td><td style="VERTICAL-ALIGN: top" height="25"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 3</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Introduction: Centennial Reflections on Chinese-Language Cinemas</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"></span><span style="font-family:Arial, Helvetica, sans-serif;"><span style="font-size:78%;"><b>SHELDON H. LU and YEH YUEH-YU</b></span></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="24"><span style="font-family:Arial, Helvetica, sans-serif;font-size:100%;"><b><span style="font-size:+0;">Part I. Historiography, Poetics, Style</span></b></span> </td><td style="VERTICAL-ALIGN: top" height="24"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 9</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Transcultural Spaces: Toward a Poetics of Chinese Film</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><b>DAVID BORDWELL</b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 25</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Shadow Opera: Towards a New Archeology of the Chinese Cinema</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><b>MARY FARQUHAR and CHRIS BERRY</b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 43</span></td><td valign="top" align="left" height="21"><p><span style="font-family:Arial, Helvetica, sans-serif;">Bodies in the Air: The Magic of Science and the Fate of<br /></span><span style="font-family:Arial, Helvetica, sans-serif;">the Early "Martial Arts" Film in China </span></p></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">ZHANG ZHEN </span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 61</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Politics and Poetics of Hou Hsiao-hsien's Films</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">YEH YUEH-YU </span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 77</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Working from the Margins: Urban Cinema and Independent Directors<br />in Contemporary China </span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><b>SHUQIN CUI </b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="24"><span style="font-family:Arial, Helvetica, sans-serif;font-size:100%;"><b><span style="font-size:+0;">Part II. Postcoloniality, Transitionality, Gender</span></b></span></td><td style="VERTICAL-ALIGN: top" height="24"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 94</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Borrowing Postcolonial: Wu Nien-chen's <i>Dou-san</i> and the Memory Mine </span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><b>DARRELL W. DAVIS</b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 115</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Locating Feminine Writing in Taiwan Cinema: A Study of Yang Hui-shan's Body and Sylvia Chang's <i>Siao Yu</i></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><b>SHIAO-YING SHEN </b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 124</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Diaspora and National Identity: Exporting "China" through the Hong Kong Cinema </span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="30"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="30"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><b>DAVID DESSER</b></span></td><td style="VERTICAL-ALIGN: top" height="30"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 137</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Hong Kong Diaspora Film and Transnational TV Drama: From Homecoming and Exile to Flexible Citizenship </span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><b>SHELDON H. LU</b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 147</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">(In)authentic Hong Kong: The "(G)local" Cultural Identity in Postcolonial Hong Kong Cinema </span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><b>STEPHEN PRINCE</b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="24"><span style="font-family:Arial, Helvetica, sans-serif;font-size:100%;"><b><span style="font-size:+0;">Part III. Bibliography</span></b></span></td><td style="VERTICAL-ALIGN: top" height="24"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 159</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Hong Kong Electric Shadows II: Recent English Publications on Hong Kong Cinema </span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><b>H. C. LI</b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="center" align="left" colspan="2" height="16"><a id="20.1" name="20.1"></a></td><td style="VERTICAL-ALIGN: top" height="16"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="21"><hr /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="22"><table cellspacing="0" cellpadding="0" width="100%" border="0"><tbody><tr><td><span style="font-family:Arial, Helvetica, sans-serif;">Volume 20, No. 1</span></td><td><span style="font-family:Arial, Helvetica, sans-serif;">Fall 2000</span></td><td><span style="font-family:Arial, Helvetica, sans-serif;">ISSN-0277-9897</span></td></tr></tbody></table></td><td style="VERTICAL-ALIGN: top" height="22"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="22"><table cellspacing="0" cellpadding="0" width="100%" border="0"><tbody><tr><td><span style="font-family:Arial, Helvetica, sans-serif;">Special Issue: Kurosawa Akira </span></td><td><span style="font-family:Arial, Helvetica, sans-serif;">Guest Editor: Keiko McDonald </span></td></tr></tbody></table></td><td style="VERTICAL-ALIGN: top" height="22"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="21"><hr /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="25"><span style="font-family:Arial, Helvetica, sans-serif;"><b>Contents</b></span></td><td style="VERTICAL-ALIGN: top" height="25"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 3</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Introduction</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><b>KEIKO McDONALD</b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 7</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><i>The Men Who Tread on the Tiger's Tail</i>, Kurosawa and the Theater</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><b>DONALD RICHIE</b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 10</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Kurosawa Akira's <i>No Regrets for Our Youth </i>(1946)</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><b>TAMAE PRINDLE</b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 23</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Dream, Song and Symbol: More about <i>Drunken Angel</i></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">KEIKO McDONALD</span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 34</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Kurosawa's Narration and the Noh Theater</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">MATTHEW BERNSTEIN</span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 46</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">A Note on <i>The Lower Depths (Donzoko)</i> of Kurosawa Akira</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><b>J. THOMAS RIMER</b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 53</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Naked Swords: The Zen Warrior Tradition and the Intertextual Odyssey of the Nameless Ronin in <i>Seven Samurai, Yojimbo</i>, and <i>Sanjuro</i></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;"><b>EDDY VON MUELLER</b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 68</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">The Place of <i>Dodeskaden</i></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;">DAVID DESSER</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 79</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Kurosawa and Cinematic Traditions</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="30"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="30"><p><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;">OBAYASHI NOBUHIKO<br />Translated by DAVID MILLS</span></p></td><td style="VERTICAL-ALIGN: top" height="30"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 82</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Stability of the Heart Amidst Hills of Green: An Ecocritical Reading of Akira Kurosawa's <i>Ran</i></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;">DAVID JORTNER</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 92</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">In Memory of Kurosawa Akira</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;">STEPHEN PRINCE</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 96</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">BOOK REVIEW: Mitsuhiro Yoshimoto's Kurosawa: Film Studies and Japanese Cinema</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><a id="19.3" name="19.3"></a></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;font-size:78%;">Reviewed by DAISUKE MIYAO</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="17"></td><td style="VERTICAL-ALIGN: top" height="17"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="21"><hr /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="22"><table cellspacing="0" cellpadding="0" width="100%" border="0"><tbody><tr><td><span style="font-family:Arial, Helvetica, sans-serif;">Volume 19, No. 3</span></td><td><span style="font-family:Arial, Helvetica, sans-serif;">Summer 2000</span></td><td><span style="font-family:Arial, Helvetica, sans-serif;">ISSN-0277-9897</span></td></tr></tbody></table></td><td style="VERTICAL-ALIGN: top" height="22"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="21"><hr /></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" colspan="2" height="25"><span style="font-family:Arial, Helvetica, sans-serif;"><b>Contents</b></span></td><td style="VERTICAL-ALIGN: top" height="25"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 3</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Dede Allen: An Interview</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">RIC GENTRY</span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 29</span></td><td valign="baseline" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Scatological Film Practice: <i>Pulp Fiction</i> and a Cinema in Movements</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">DEVIN ANTHONY ORGERON</span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 41</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Clint Eastwood's Last Cowboy: <i>The Bridges of Madison County</i></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">JIM SANDERSON and CECIL JOHNSON</span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 58</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Misreading "Little Limp Lo" and "Humbert the Terrible": The Obfuscation of Child Abuse in Adrian Lyne's <i>Lolita</i></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"></span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">LEE ANN DE REUS and KENNETH WOMACK</span></b></span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">pg. 67</span></td><td valign="top" align="left" height="21"><span style="font-family:Arial, Helvetica, sans-serif;">Annual Bibliography of Film Studies--1999</span></td><td style="VERTICAL-ALIGN: top" height="21"><br /></td></tr><tr><td valign="top" align="left" height="17"><span style="font-family:Arial, Helvetica, sans-serif;"><a href="http://www7.tamu-commerce.edu/litlang/CurrentIssue.htm#"><img height="1" src="http://www7.tamu-commerce.edu/litlang/transparent.gif" width="1" border="0" /></a></span></td><td valign="top" align="left" height="17"><span style="font-family:Arial, Helvetica, sans-serif;"><b><span style="font-size:78%;">J.P. TELOTTE</span></b></span></td></tr></tbody></table>Postscript Editorhttp://www.blogger.com/profile/15500916931020851859noreply@blogger.comtag:blogger.com,1999:blog-2319737045197996395.post-47078238312416007482008-04-09T22:36:00.001-07:002008-08-12T19:54:05.580-07:00ABOUT<p style="TEXT-ALIGN: left"><span style="font-family:arial;font-size:130%;">POST SCRIPT is indexed by the Federation Internationale des Archives du Film (FIAF) and its published listing, The International Index to Film Periodicals; Film/Literature Index; MLA International Bibliography; An Index to Book Reviews in the Humanities, and the International Index to the Performing Arts (Chadwyck-Healey).</span></p><div style="TEXT-ALIGN: left"><span style="font-family:arial;font-size:130%;"></span></div><p style="TEXT-ALIGN: left"><span style="font-family:arial;font-size:130%;">Signed articles represent the views of their authors. POST SCRIPT, Inc., its editors and editorial board, and institutional co-sponsors do not take responsibility for statements, either fact or opinion, made by contributors. </span></p><div style="TEXT-ALIGN: left"><span style="font-family:arial;font-size:130%;">For a full listing of our back issues check out the "ARCHIVE" link above: </span><span style="font-family:arial;font-size:130%;"><br />All subscriptions and back orders and subscriptions require pre-payment</span></div>Postscript Editorhttp://www.blogger.com/profile/15500916931020851859noreply@blogger.com