POST SCRIPT
Essays in Film and the Humanities
| Volume 26, No. 2 | Winter/Spring 2007 | ISSN-0277-9897 |
| pp. 5-9 | "Susan Sontag and the Criticism of Cinema's Modernity: An Introduction" |
| Guest Editors: COLIN BURNETT and DUDLEY ANDREW | | pp. 10-23 | "Putting Her Body on the Line: The Critical Acts of Susan Sontag, Part I" | | JIM MCLAUGHLIN | | pp. 24-40 | "Putting Her Body on the Line: The Critical Acts of Susan Sontag, Part II" | | JIM MCLAUGHLIN | | pp. 41-51 | "Sontag's Erotics of Film Style: Between Meaning and Presence" | | CHARLES O'BRIEN | | pp. 52-71 | "Approaching the Cinema of Silence" | | GREG TAYLOR | | pp. 72-80 | "Sontag and Cinephilia" | | CHRISTIAN KEATHLEY | | pp. 81-90 | "Sontag, Bresson, and the Unfixable" | | BRIAN PRICE | | pp. 91-104 | "The Ethics of Seeing: Susan Sontag and Visual Culture Studies" | | MARC FURSTENAU | | pp. 105-116 | "Sontag's Barthes: A Portrait of the Aesthete" | | LUCY O'MEARA | | pp. 117-136 | "The Photographic Imagination: Sontag and Benjamin" | | G. F. MITRANO | | pp. 137-141 | "Some Notes on Antonioni and Others" | | CALVIN KOFF (aka SUSAN SONTAG) | | Book Reviews by: | | pp. 142-146 | Linda Watts on The Man Who Would Marry Susan Sontag and Female Icons: Marilyn Monroe to Susan Sontag | | pp. 16-147 | Josh Shepperd on Women |
| Volume 26, No. 1 | Fall 2006 | ISSN-0277-9897 |
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pg. 3
| Bennett Miller: An Interview
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| Wheeler Winston Dixon
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pg. 13
| Nationalizing and Segregating Performance: Josephine Baker and Stardom in ZouZou (1934)
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| Scott Balcerzak
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pg. 32
| "Mum's the Word": The Trial of Genre in Dancer in the Dark
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| Brenda Austin-Smith
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pg. 43
| "You Came Back!"; or, Mulholland Treib
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| Franklin Ridgway
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pg. 62
| Book Review- Dames in the Driver's Seat: Rereading Film Noir
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| William B. Covey
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pg. 66
| Annual Bibliography of Film Studies- 2005
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| J. P. Telotte
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| Volume 25, No. 3 Summer 2006 ISSN-0277-9897 |
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Special Issue: Indian Cinema Guest Editors: Frances Gateward & David Desser
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pg. 3
| Introduction: Indian Cinema and Film Studies
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| Frances Gateward and David Desser
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pg. 7
| Work, Play and Linguistics Hybridity in Postcolonial India: (DE) Forming the Indian Middle Class in Ray's Kanchenjungha
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| Reena Dube
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pg. 17
| Ritwik Ghatak and the Role of Sound in Representing Post-Partition Bengal
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| Thomas Stubblefield
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pg. 30
| Stars and Mobilization in South India: What Have Films Got to Do With It?
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| S.V. Srinivas
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pg. 48
| A New Universalism: Terrorism and Film Languages in Mani Ratnam's Kannathil Muthamittal
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| Priya Jaikumar
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pg. 65
| Mantras of the Metropole: Digital Inscriptions and Mythic Curvatures of Profane Time
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| Anustup Basu
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pg. 79
| The Museum as Refuge for Film: The Case of Kumar Shahani's Epic Cinema
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| Laleen Jayamanne
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pg. 93
| Bollywood Dreaming: Kal Ho Naa Ho and the Diasporic Spectator
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| Brian Hu
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| Volume 25, No. 2 Winter/ Spring 2006 ISSN-0277-9897 |
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| Special Issue: Transnational Cinema Guest Editor: Leonard R. Koos |
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| pg. 3 | Films Without Borders: An Introduction |
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| Leonard R. Koos |
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| pg. 19 | The Cannes Film Festival as Transnational Space |
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| Lucy Mazdon |
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| pg. 31 | Peter Jackson as a Postcolonial Filmaker: National Cinema and Hollywood Genres |
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| Mary Alemany-Galway |
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| pg. 44 | Lola and Billy the Kid (1999): A Turkish Director’s Western Showdown in Berlin |
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| Roger Hillman |
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| pg. 56 | Stranger than Fiction: Genre and Hybridity in the “Refugee Film” |
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| Rebecca Prime |
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| pg. 67 | The Stubborn Persistence of the Local in Wong Kar-wai |
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| James Udden |
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| pg. 80 | Book Review: From Moscow to Madrid: Postmodern Cities, European Cinema |
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| JeanAnn Dabb |
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| pg. 82 | Book Review:Between Shanghai and Hong Kong: The Politics of Chinese Cinemas |
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| Jennifer Forrest |
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| pg. 84 | Book Review:Cinema of Flames: Balkan Film, Culture and the Media |
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| Valentina Glajar |
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| pg. 86 | Book Review:Beyond Bollywood: The Cultural Politics of South Asia Diasporic Film |
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| Leonard R. Koos |
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| Volume 25, No. 1 Fall 2005 ISSN-0277-9897 |
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| pg. 3 | Christian Nyby: An Interview |
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| Ric Gentry |
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| pg. 22 | Reinventing Bird: The Evolving Image of Charlie Parker on Film |
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| John P. McCombe |
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| pg. 38 | Spinoza’s Stone: The Logic of Donnie Darko |
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| Peter Mathews |
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| pg. 49 | Class, Gender, and Genre in Zalman King’s “Real High Erotica”: The Conflicting Mandates of Female Fantasy |
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| David Andrews |
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| pg. 74 | Book Review: Allegories of Communication: Intermedial Concerns from Cinema to the Digital |
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| Dene Grigar |
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| pg. 76 | Annual Bibliography of Film Studies—2004 |
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| J.P. Telotte |
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| Volume 24, Nos. 2&3 Winter/Spring & Summer 2005 ISSN-0277-9897 |
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| Special Issues: Australian and New Zealand Cinema Guest Editor: Ian Conrich |
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| pg. 3 | Introduction |
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| Ian Conrich, Guest Editor |
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| pg. 8 | Out of Place: Reading (Post) Colonial Landscapes as Gothic Space in Jane Campion's Films |
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| Eva Rueschmann |
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| pg. 22 | Three Australian Documentaries: Diaspora and Subjectivity |
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| Belinda Smaill |
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| pg. 35 | Agnetial Mortality: Death, Corporeality, and Identity in Radiance (1997) |
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| Anthony Adah |
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| pg. 48 | White Lubra/White Savage: Pitury and Colonialist Fantasy in Charles Chauvel's Uncivilised (1936) |
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| Jeanette Hoorn |
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| pg. 64 | Impaired and Ill at Ease: New Zealand's Cinematics and Disability |
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| Angela Marie Smith |
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| pg. 82 | Conflict and Conspiracy: Public and Personal Memory in Australian Film |
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| Jonathan Rayner |
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| pg. 94 | Septic Tanks Downunder: Representing American Soldiers as "Other" in Australian Cinema |
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| Mick Broderick |
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| pg. 109 | Thematising the Global: Recent Australian Film |
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| Tanya Dalziell and Tony Hughes-D'Aeth |
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| pg. 122 | Getting to Wellywood: National Branding and the Globalisation of the New Zealand Film Industry |
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| Jennifer Lawn and Bronwyn Beatty |
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| pg. 140 | Global Pressure and the Political State: New Zealand's Cinema of Crisis |
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| Ian Conrich |
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Volume 24, No. 1 Fall 2004 ISSN-0277-9897 |
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| pg. 3 | Vilmos Zsigmond: An Interview |
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| Ric Gentry |
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| pg. 42 | Manhunting: The Female Detective in the Serial Killer Film |
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| Philippa Gates |
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| pg. 62 | Ambition and Ideology: Intertextual Clues to A Simple Plan's View of the American Dream |
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| Jane Hill |
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| pg. 71 | The Animation of Anne: Japanese Anime Encounters the Diary of a Holocaust Icon |
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| Hema Ramachandran |
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| pg. 84 | Annual Bibliography of Film Studies--2003 |
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| J. P. Telotte |
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Volume 23, No. 3 Summer 2004 ISSN-0277-9897 |
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| Specail Issue: Adaptation Guest Editor: Lynn Higgins |
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| pg. 3 | Introduction |
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| Lynn A. Higgins |
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| pg. 5 | Why Adapt? |
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| Linda Hutcheon |
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| pg. 19 | Adaptation as Forgery: The Case of The Talented Mr. Ripley |
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| Katherine Golsan |
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| pg. 36 | African Cinema and the Politics of Adaptation |
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| Alexie Tcheuyap |
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| pg. 50 | Agnieszka Holland vs William Wyler: On Two Adaptations of Henry Jones's Wasington Square |
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| Slawomir Bobowski |
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| pg. 64 | From Red Sorghum to Devils on the Doortep: Conceptual Evolution in Chinese Film Adaptation |
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| Yu Tian |
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| pg. 73 | Adapting Chekhovian Mood |
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| Tatiana Smorodinskaya |
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| pg. 87 | The Mystery of the Unsung Song |
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| Meredith Kolar |
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| pg. 99 | Post-Literary Adaptation |
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| Thomas Leithch |
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| Volume 23, No. 2 Winter/Spring 2004 ISNN-0277-9897 |
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| pg. 3 | The Golden Years: An Interview with Ronald Neame |
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| Wheeler Winston Dixon |
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| pg. 19 | Speaking the Mind's Voice: Double Discursivity in Jane Campion's The Piano |
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| Erin McGlothlin |
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| pg. 33 | Mikhail Bakhtin and the Sundance Kid: Generic Dialogue in the Western |
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| Michael Dunne |
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| pg. 48 | Proust and Cinema, or Luchino Visconti's Search |
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| Duncan McColl Chesney |
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| pg. 62 | Sarah's Dream/ No Fate: Doubling in Terminator II |
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| Christopher Brooks |
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| pg. 72 | David Cronenberg's Having to Make the Word Be Flesh |
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| David Roche |
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| pg. 88 | Book Review: Alien Woman: The Making of Lt. Ellen Ripley |
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| Susan A. George |
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| Volume 23, No. 1 | Fall 2003 | ISSN-0277-9897 |
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| pg. 3 | Stanley Kubrick's Eyes Wide Shut: A Masque in Disguise |
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| Jane Alison |
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| pg. 13 | Roberto Benigni's Life is Beautiful and the Protection of Innocence: Fable, Fairy Tale or Just Excuses? |
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| Grace Russo Bullaro |
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| pg. 27 | Facualizing the Tattoo: Actualizing Personal History Through Memory in Christopher Nolan's Memento |
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| G. Christopher Williams |
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| pg. 37 | Wings of Desire and the Value of Mortality |
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| James Conlon |
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| pg. 51 | Annual Bibliography of Film Studies--2002 |
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| J.P. Telotte |
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| Volume 22, No. 3 | Summer 2003 | ISSN-0277-9897 |
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| Special Issue: The Double in Movies | Guest Editor: Francoise Ghillebaert |
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| pg. 3 | From Doppelganer to Persona: Acting Becomes the Identity |
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| Francoise Ghillebaert |
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| pg. 8 | Singling Out the Double: Objectivity, Subjectivity and ALterity in Kieslowski's The Double Life of Veronique |
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| Lihi Nagler |
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| pg. 21 | Doubled Lives, Dissimulated History: Hou Hsiao-hsien's Good Men, Good Women |
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| Jean Y. Ma |
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| pg. 34 | "A Perfect Double Down to the Last Detail": Photography and the Indentity of Film Noir |
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| V. Penelope Pelizzon and Nancy West |
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| pg. 46 | American Psycho: A Double Portrait of Serial Yuppie Patrick Bateman |
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| Jaap Kooijman and Tarja Laine |
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| pg. 57 | The Double in Bunuel's That Obscure Object of Desire |
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| Francoise Ghillebaert |
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| pg. 69 | Disabled by Desire: Body Doubles in "Rear Window" (1942), Rear Window (1954), and Rear Window (1998) |
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| Nancy Steffen-Fluhr |
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| pg. 89 | Doubling, Stardom, and Melodrama in India Cinema: The "Impossible" Role of Nargis |
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| Neepa Majumdar |
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| pg. 104 | "In His Own Image": Genre, Memory and Doubling in Schwarzenegger's Films |
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| John Sears |
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| pg. 115 | Book Review Laleen Jayamanne's Toward Cinema and Its Double: Cross-Cultural Mimesis |
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| Colin Charlton |
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| Volume 22, No. 2 | Winter/Spring 2003 | ISSN-0277-9897 |
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| Special Issue: Realist Horror Cinema, Part II - Serial Killers | Guest Editor: Steven Jay Schneider |
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| pg. 3 | Introduction, Pt. II: Serial Killer Film and Television |
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| STEVEN JAY SCHNEIDER |
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| pg. 7 | Horror Beyond the Camera: Cultural Sources of Violence in Hitchcock's Mid-Century America |
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| Thomas Hemmeter |
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| pg. 20 | Faces Behind the Mask: Vincent Price, Dr. Phibes, and the Horror Genre in Transition |
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| Rick Worland |
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| pg. 34 | Monstrosity Without a Body: Representational Strategies in the Popular Serial Killer Film |
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| Steffen Hantke |
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| pg. 55 | A Psychological Examination of Serial Killer Cinema: The Case of Copycat |
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| Carl Goldberg and Virginia Crespo |
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| pg. 64 | On the Road Again: Rehearsing the Death Drive in MOdern Realist Horror Cinema |
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| Reynold Humphries |
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| pg. 81 | A through S(e7en): A Racial Taxonomy of Serial Killer Cinema |
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| Nicholas Rombes |
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| pg. 92 | The Life and Crimes of Ben; or, When a Serial Killer Meets a Film Crew in Man Bites Dog |
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| Frank Lafond |
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| pg. 103 | America's Scariest Home Videos: Serial Killers and Reality Television |
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| Philip L. Simpson |
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| pg. 124 | Review of Seven (BFI Modern Classic) |
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| Chrisotpher Sharrett |
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| pg. 126 | Review of Psycho Paths: Tracking the Serial Killer Through Contemporary American Film and Fiction |
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| Robert E. Wood |
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| Volume 22, No. 1 | Fall 2002 | ISSN-0277-9897 |
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| pg. 3 | Hawks on Faulkner: Excerpts from an Interview |
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| Bruce Kawin |
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| pg. 23 | Gender amd the Modern Body: Men, Women, and Machines in Vertov's Man with a Movie Camera |
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| Pearl Latteier |
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| pg. 35 | Tous les matins du monde: Roland Barthes and the Culture of Musicianship |
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| Nicholas O. Pagan |
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| pg. 45 | Something Borrowed, Something Blue: Robert Van Ackeren's Deutschland Privat and the Economics of Eroticism |
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| Bruce Williams |
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| pg. 54 | Annual Bibliography of Film Studies |
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| J.P. Telotte |
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| Volume 21, No. 3 | Summer 2002 | ISSN-0277-9897 |
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| Special Issue: Realist Horror Cinema, Part I - Dimensions of the Real | Guest Editor: Steven Jay Schneider |
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| pg. 3 | Introduction, Pt. I: Dimensions of the Real |
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| STEVEN JAY SCHNEIDER |
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| pg. 8 | Join the United Mutations: Tod Browning's Freaks |
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| BERND HERZOGENRATH |
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| pg. 20 | Mario Bava's The Evil Eye: Realism and the Italian Horror Film |
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| COLETTE BALMAIN |
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| pg. 32 | Canibal Holocaust, Realist Horror, and Reflexivity |
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| NEIL JACKSON |
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| pg. 46 | Mockumentaries and the Production of Realist Horror |
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| GARY D. RHODES |
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| pg. 61 | Hong Kong Social Horror: Tragedy and Farce in Category 3 |
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| TONY WILLIAMS |
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| pg. 72 | Refiguring Gothic Mythology: The Film Noir-Horror Hybrids of the 1980s |
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| JACK MORGAN |
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| pg. 87 | Hits, Whacks, and Smokes: The Celluloid Gangster as Horror Icon |
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| CATHERINE DON DIEGO |
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| pg. 99 | The Horrific in Sluizer's The Vanishing |
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| KEVIN W. SWEENEY |
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| pg. 111 | The Mourning of Loss in The Sixth Sense |
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| MARGUERITE LA CAZE |
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| pg. 122 | Living is a Selfish Act: An Interview with Gaspar Noé |
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| MITCH DAVIS |
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| pg. 131 | Review of Killing for Culture: An Illustrated History of Death Film from Mondo to Snuff |
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| KEN GELDER |
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| pg. 133 | Reply to Gelder |
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| DAVID KEREKES |
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| pg. 134 | Review of Mythologies of Violence in Postmodern Media |
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| MATT HILLS |
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| Volume 21, No. 2 | Winter/Spring 2002 | ISSN-0277-9897 |
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| Special Issue: Spanish Cinema | Guest Editor: Marvin D'Lugo |
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| pg. 3 | Recent Spanish Cinema in National and Global Contexts |
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| MARVIN D'LUGO |
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| pg. 12 | Alejandro Amenábar's Tesis: Art, Commerce, and Renewal in Spanish Cinema |
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| CHRISTINA A. BUCKLEY |
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| pg. 26 | Solas: Andalusian Mothers in a Global Context |
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| GERARD DAPENA |
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| pg. 38 | In Modernity's Wake: Transculturality, Deterriotorialization and the Question of Community in Icíar Bollaín's Las flores de otro mundo (Flowers from Another World) |
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| PARVATI NAIR |
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| pg. 50 | Hitting the Mark from Television to Film: Violence, Timing, and the Comedy Team in Alex de la Iglesia's Muertos de Risa (1999) |
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| DONA M. KERCHER |
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| pg. 64 | Juanma Bajo Ulloa's Airbag and the Politics of Spanish Regional Autorship |
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| ROSANNA MAULE |
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| pg. 78 | The Geopolitical Aesthetic in Recent Spanish Films |
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| Marvin D'Lugo |
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| pg. 90 | Review Essay |
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| Recent Books on Spanish Cinema in the 1990s: A Global Perspective |
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| KATHLEEN M. VERNON |
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| Volume 21, No. 1 | Fall 2001 | ISSN-0277-9897 |
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| Contents |
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| pg. 3 | No More Excuses: An Interview with Robert Downey, Sr. |
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| WHEELER WINSTON DIXON |
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| pg. 14 | Jamie Babbit: An Interview |
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| WHEELER WINSTON DIXON |
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| pg. 24 | Remaking Buenos Aires: Argentine Film from Tango to Kilómetro 111 |
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| CURRIE K. THOMPSON |
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| pg. 31 | A Bergsonian Film: The Picasso Mystery |
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| ANDRE BAZIN. Tranlated & Edited by BERT CARDULLO |
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| pg. 39 | Book Review |
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| Orson Welles, Shakespeare, and Popular Culture |
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| LELAND POAGUE |
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| pg. 43 | Annual Bibliography of Film Studies - 2000 |
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| J. P. TELOTTE |
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| pg. 72 | Post Script Index: The First Twenty Years (1981-2001) |
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| COMPILED BY GERALD DUCHOVNAY |
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| Volume 20, Nos. 2&3 | Winter/Spring & Summer 2001 | ISSN-0277-9897 |
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| Special Double Issue: Chinese Cinema | Guest Editors: Sheldon H. Lu and Yeh Yueh-yu |
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| Contents |
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| pg. 3 | Introduction: Centennial Reflections on Chinese-Language Cinemas |
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| SHELDON H. LU and YEH YUEH-YU |
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| Part I. Historiography, Poetics, Style |
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| pg. 9 | Transcultural Spaces: Toward a Poetics of Chinese Film |
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| DAVID BORDWELL |
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| pg. 25 | Shadow Opera: Towards a New Archeology of the Chinese Cinema |
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| MARY FARQUHAR and CHRIS BERRY |
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| pg. 43 | Bodies in the Air: The Magic of Science and the Fate of
the Early "Martial Arts" Film in China |
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| ZHANG ZHEN |
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| pg. 61 | Politics and Poetics of Hou Hsiao-hsien's Films |
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| YEH YUEH-YU |
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| pg. 77 | Working from the Margins: Urban Cinema and Independent Directors
in Contemporary China |
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| SHUQIN CUI |
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| Part II. Postcoloniality, Transitionality, Gender |
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| pg. 94 | Borrowing Postcolonial: Wu Nien-chen's Dou-san and the Memory Mine |
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| DARRELL W. DAVIS |
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| pg. 115 | Locating Feminine Writing in Taiwan Cinema: A Study of Yang Hui-shan's Body and Sylvia Chang's Siao Yu |
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| SHIAO-YING SHEN |
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| pg. 124 | Diaspora and National Identity: Exporting "China" through the Hong Kong Cinema |
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| DAVID DESSER |
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| pg. 137 | Hong Kong Diaspora Film and Transnational TV Drama: From Homecoming and Exile to Flexible Citizenship |
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| SHELDON H. LU |
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| pg. 147 | (In)authentic Hong Kong: The "(G)local" Cultural Identity in Postcolonial Hong Kong Cinema |
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| STEPHEN PRINCE |
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| Part III. Bibliography |
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| pg. 159 | Hong Kong Electric Shadows II: Recent English Publications on Hong Kong Cinema |
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| H. C. LI |
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| Volume 20, No. 1 | Fall 2000 | ISSN-0277-9897 |
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| Special Issue: Kurosawa Akira | Guest Editor: Keiko McDonald |
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| Contents |
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| pg. 3 | Introduction |
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| KEIKO McDONALD |
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| pg. 7 | The Men Who Tread on the Tiger's Tail, Kurosawa and the Theater |
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| DONALD RICHIE |
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| pg. 10 | Kurosawa Akira's No Regrets for Our Youth (1946) |
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| TAMAE PRINDLE |
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| pg. 23 | Dream, Song and Symbol: More about Drunken Angel |
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| KEIKO McDONALD |
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| pg. 34 | Kurosawa's Narration and the Noh Theater |
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| MATTHEW BERNSTEIN |
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| pg. 46 | A Note on The Lower Depths (Donzoko) of Kurosawa Akira |
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| J. THOMAS RIMER |
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| pg. 53 | Naked Swords: The Zen Warrior Tradition and the Intertextual Odyssey of the Nameless Ronin in Seven Samurai, Yojimbo, and Sanjuro |
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| EDDY VON MUELLER |
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| pg. 68 | The Place of Dodeskaden |
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| DAVID DESSER |
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| pg. 79 | Kurosawa and Cinematic Traditions |
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| OBAYASHI NOBUHIKO
Translated by DAVID MILLS |
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| pg. 82 | Stability of the Heart Amidst Hills of Green: An Ecocritical Reading of Akira Kurosawa's Ran |
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| DAVID JORTNER |
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| pg. 92 | In Memory of Kurosawa Akira |
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| STEPHEN PRINCE |
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| pg. 96 | BOOK REVIEW: Mitsuhiro Yoshimoto's Kurosawa: Film Studies and Japanese Cinema |
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| Reviewed by DAISUKE MIYAO |
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| Volume 19, No. 3 | Summer 2000 | ISSN-0277-9897 |
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| Contents |
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| pg. 3 | Dede Allen: An Interview |
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| RIC GENTRY |
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| pg. 29 | Scatological Film Practice: Pulp Fiction and a Cinema in Movements |
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| DEVIN ANTHONY ORGERON |
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| pg. 41 | Clint Eastwood's Last Cowboy: The Bridges of Madison County |
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| JIM SANDERSON and CECIL JOHNSON |
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| pg. 58 | Misreading "Little Limp Lo" and "Humbert the Terrible": The Obfuscation of Child Abuse in Adrian Lyne's Lolita |
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| LEE ANN DE REUS and KENNETH WOMACK |
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| pg. 67 | Annual Bibliography of Film Studies--1999 |
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| J.P. TELOTTE |
