| Volume 31 Number 1 |
SCS Past-President's Report, 3-4 Peter Lehman New President's Report, 5-6 Janet Staiger Apocalypse Then: Benefits of the Bomb in Fifties Science Fiction Films, 7-21 Robert Torry Musical Links in "Young Mr. Lincoln, My Darling Clementine", and "The Man Who Shot Liberty Valance", 22-36 William Darby "Traffic in Souls": An Experiment in Feature-Length Narrative Construction, 37-56 Ben Brewster Mae West as Censored Commodity: The Case of "Klondike Annie", 57-84 Ramona Curry Information on Financial Assistance for Minority Students and Scholars, 85-87 Jerry Delamater, Jack Boozer Professional Notes, 88-93 Robert Lang, Jane Sloan |
| Volume 31 Number 2 |
Another Audience: Black Moviegoing, 1907-16, 3-25 Gregory A. Waller "Ecstasy of Difference": Bertolucci's "The Last Emperor", 26-44 Yosefa Loshitzky, Raya Meyuhas, Bertolucci "Race" (民 族): Chinese Film and the Politics of Nationalism, 45-58 Chris Berry The Kuleshov Effect: Recreating the Classic Experiment, 59-75 Stephen Prince, Wayne E. Hensley Professional Notes, 76-82 Robert Lang, Jane Sloan |
| Volume 31 Number 3 |
Birth Traumas: Parturition and Horror in "Rosemary's Baby", 3-18 Lucy Fischer Hollywood on (Re)Trial: The American Broadcasting-United Paramount Merger Hearing, 19-36 Timothy R. White Self-Referentiality in Early German Cinema, 37-55 Sabine Hake Dialogue Lost in the Funhouse: Noel King Responds to R. L. Rutsky and Justin Wyatt, 56-62 Noel King R. L. Rutsky and Justin Wyatt Reply to King "Throwing Shade in the Kingdom", 63-66 R. L. Rutsky, Justin Wyatt Professional Notes, 67-71 Robert Lang, Jane Sloan |
| Volume 31 Number 4 |
On the Edge of Tastelessness: CBS, the Smothers Brothers and the Struggle for Control, 3-24 Steven Alan Carr The Look Back in "E.T.", 25-41 Ilsa J. Bick "The Cognitive Instrument in the Service of Revolutionary Change": Sergei Eisenstein, Annette Michelson, and the Avant-Garde's Scholarly Aspiration, 42-59 Gregory T. Taylor Dialogue Reply to "Statement to Administrators", 60-62 Bill Nichols Reply to Bill Nichols, 63-65 John Belton In Praise of Video: A Response to "Statement on the Use of Video in the Classroom", 66-71 Royal S. Brown Reply to Royal Brown, 71-72 John Belton Professional Notes, 73-78 Robert Lang, Jane Sloan |
| Volume 32 Number 1 |
The Discourse of "Scientific Anti-Communism" in the "Golden Age" of Documentary, 3-25 Michael Curtin What Alice Does: Looking Otherwise at "The Cat People", 26-42 John Berks Signifyin(g) the Phallus: "Mo' Better Blues" and Representations of the Jazz Trumpet, 43-62 Krin Gabbard A Painter in Hollywood: Vincente Minnelli's "An American in Paris", 63-83 Angela Dalle-Vacche Professional Notes, 84-88 Robert Lang, Jane Sloan |
| Volume 32 Number 2 |
Report of the Ad Hoc Committee of the Society for Cinema Studies, "Fair Usage Publication of Film Stills", 3-20 Kristin Thompson Representation, Illusion, and the Cinema, 21-48 Richard Allen The Point of View of the Wandering Camera, 49-56 Kenneth Johnson "The Kinda Comedy That Imitates Me": Mae West's Identification with the Feminist Camp, 57-72 Pamela Robertson Professional Notes, 73-77 Robert Lang, Jane Sloan |
| Volume 32 Number 3 |
"The Lady in the Tutti-Frutti Hat": Carmen Miranda, a Spectacle of Ethnicity, 3-23 Shari Roberts Conventions of Sound in Documentary, 24-40 Jeffrey Ruoff Hollywood's Semi-Independent Production, 41-54 Matthew Bernstein Professional Notes, 55-63 Robert Lang, Jane Sloan |
| Volume 32 Number 4 |
Front Matter SCS President's Report, 3-5 Virginia Wright Wexman The Queer Voice in "Marnie", 6-23 Lucretia Knapp Televisuality as a Semiotic Machine: Emerging Paradigms in Low Theory, 24-48 John T. Caldwell The Fellini Manner: Open Form and Visual Excess, 49-64 John C. Stubbs Professional Notes, 65-70 Robert Lang, Jane Sloan |
| Volume 33 Number 1 |
"It's Only That I Do What I Love and Love What I Do": "Film Noir" and the Musical Woman, 3-16 Adrienne L. McLean "Reading" Design in "The Go-between", 17-34 Charles Shiro Tashiro "Contra" Brecht: R. W. Fassbinder and Pop Culture in the Sixties, 35-54 Jane Shattuc Dialogue Karen Hollinger on John Berks's "What Alice Does: Looking Otherwise at "The Cat People" " ("Cinema Journal", Fall 1992), 55-57 Karen Hollinger John Berks Responds, 57-58 John Berks Professional Notes, 60-65 Michael Walsh, Jane Sloan |
| Volume 33 Number 2 |
SCS President's Report, 3-4 Virginia Wright Wexman Full-Metal-Jacketing, or Masculinity in the Making, 5-21Paula Willoquet-Maricondi Post-Wall Documentaries: New Images from a New Germany?, 22-41 Marc Silberman Voicing the Silence in Federico Fellini's "La voce della luna", 42-55 Cristina Degli-Esposti Dialogue Janet Staiger Responds to Matthew Bernstein's "Hollywood's Semi-Independent Production" ("Cinema Journal", Spring 1993), 56-59 Janet Staiger Matthew Bernstein Responds, 59-63 Matthew Bernstein Professional Notes, 64-67 Michael Walsh, Jane Sloan |
| Volume 33 Number 3 |
SCS President's Report, 3-4 Virginia Wright Wexman Full-Metal-Jacketing, or Masculinity in the Making, 5-21 Paula Willoquet-Maricondi Post-Wall Documentaries: New Images from a New Germany?, 22-41 Marc Silberman Voicing the Silence in Federico Fellini's "La voce della luna", 42-55 Cristina Degli-Esposti Dialogue Janet Staiger Responds to Matthew Bernstein's "Hollywood's Semi-Independent Production" ("Cinema Journal", Spring 1993), 56-59 Janet Staiger Matthew Bernstein Responds, 59-63 Matthew Bernstein Professional Notes, 64-67 Michael Walsh, Jane Sloan |
| Volume 33 Number 4 |
SCS President's Report, 3-4 Virginia Wright Wexman Full-Metal-Jacketing, or Masculinity in the Making, 5-21 Paula Willoquet-Maricondi Post-Wall Documentaries: New Images from a New Germany?, 22-41 Marc Silberman Voicing the Silence in Federico Fellini's "La voce della luna", 42-55 Cristina Degli-Esposti Dialogue Janet Staiger Responds to Matthew Bernstein's "Hollywood's Semi-Independent Production" ("Cinema Journal", Spring 1993), 56-59 Janet Staiger Matthew Bernstein Responds, 59-63 Matthew Bernstein Professional Notes, 64-67 Michael Walsh, Jane Sloan |
| Volume 34 Number 1 |
Home Front America and the Denial of Death in MGM's "The Human Comedy", 3-17 Michael Anderegg Reincarnating the Radical: Godard's "Je vous salue Marie", 18-30 Kevin Z. Moore Cruisin' for a Brusin': Hollywood's Deadly (Lesbian) Dolls, 31-51 Chris Holmlund Society for Cinema Studies Constitution, 52-60 Professional Notes, 61-66 Michael Walsh, Jane Sloan |
| Volume 34 Number 2 |
Front Matter "The African Queen" and John Huston's Filmmaking, 3-21 Lesley Brill Interior Gardens: Victor Erice's "Dream of Light" and the "Bodegón" Tradition, 22-36 Linda C. Ehrlich "The Political" in the Films of Andrzej Wajda and Krzysztof Kieslowski, 37-50 Janina Falkowska Four Walling Exhibition: Regional Resistance to the Hollywood Film Industry, 51-65 Frederick Wasser Professional Notes, 66-72 Robert Lang, Jane Sloan |
| Volume 34 Number 3 |
Front Matter Tribute to Ernest Callenbach, 3-4 Vance Kepley Jr. Manhattan Nickelodeons: New Data on Audiences and Exhibitors, 5-35 Ben Singer The Cinderella Princess and the Instrument of Evil: Surveying the Limits of Female Transgression in Two Postwar Hollywood Scandals, 36-56 Adrienne L. McLean Bodily Irruptions: The Corporeal Assault on Ethnographic Narration, 57-76 Jennifer M. Barker Resources for Teaching Film and Video Courses The American Cinema Project, 77-80 William Costanzo Using Feature Film Clips to Illustrate Film Aesthetics, 80-83 Angelo Restivo Helpful Teaching Tools for Film and Video Production Courses, 83-86 Diane Carson Hypermedia as a Scholarly Tool, 86-91 Ben Singer Professional Notes, 92-97 Robert Lang, Jane Sloan, Greg Martino |
| Volume 34 Number 4 |
"Not Exactly a Knight": Arthurian Narrative and Recuperative Politics in the "Indiana Jones" Trilogy, 3-30 Susan Aronstein "The Front Row Is Reserved for Scotch Drinkers": Early Television's Tavern Audience, 31-49 Anna McCarthy Another World or the World of an Other? The Space of Romance in Recent Versions of "Beauty and the Beast", 50-70 Cynthia Erb Resources for Teaching Film and Video Courses [Introduction], 71-72 Frank P. Tomasulo Teaching the Introductory Cinema Studies Course: Some Strategies and Resources, 72-78 Frank P. Tomasulo Teaching Film with Laserdiscs, 78-83 William Costanzo Chinese Film: Sources and Resources, 83-88 Diane Carson Professional Notes, 89-95 Robert Lang, Greg Martino |
| Volume 35 Number 1 |
"Pathé Goes to Town": French Films Create a Market for the Nickelodeon, 3-26 Richard Abel Abstract: Perhaps the most significant reasons for cinema's emergence as a viable industry in the United States between 1903 and 1906 were the quality and quantity of Pathé's "red rooster" films sold on the American market. A Tale of Three Cities: The Banning of "Scarlet Street", 27-52 Matthew Bernstein Abstract: The disputes between Universal Pictures and censors in New York state, Milwaukee, and Atlanta over the banning of "Scarlet Street" (1945) are symptomatic of Hollywood's uncertain status in post--World War II America. Mixed Emotions: "Mommie Dearest." Between Melodrama and Horror, 53-64 Annette Brauerhoch Abstract: An upsetting genre mix of melodrama and horror, "Mommie Dearest" (Frank Perry, 1981) plays out fundamental psychological anxieties concerning the "realness" of motherly love through the figure of the "unreal" female star. Greenaway-Gaultier: Old Masters, Fashion Slaves, 65-80 Nita Rollins Abstract: In referring to both the upper-class attire of seventeenth-century Holland and contemporary "punk" fashion, Jean-Paul Gaultier's costumes in "The Cook, the Thief, His Wife, and Her Lover" (1990) ambiguously complement the film's critique of late capitalism. When Is a Documentary?: Documentary as a Mode of Reception, 81-102 Dirk Eitzen Shots in Cyberspace: Film Research on the Internet, 103-124 Bert Deivert Abstract: The film resources on the Internet continue to grow; here's a guide to accessing the information available through e-mail, discussion groups, the World Wide Web, and other forms of virtual communication. Addendum to Hypermedia as a Scholarly Tool, 125 Ben Singer Professional Notes, 126-132 Robert Lang, Greg Martino |
| Volume 35 Number 2 |
"Compulsory" Viewing for Every Citizen: "Mr. Smith" and the Rhetoric of Reception, 3-23 Eric Smoodin Abstract: Relying on industrial, educational, and governmental sources, this article examines the reception of "Mr. Smith Goes to Washington" upon its release and the attempts at that time to influence and regulate that reception. Working like a Homosexual: Camp Visual Codes and the Labor of Gay Subjects in the MGM Freed Unit, 24-42 Matthew Tinkcom Abstract: Camp, largely understood as a reception practice, may be invoked as a production practice to understand stylistic influences in musical films produced at MGM by the Freed Unit. Boys in Space: "Star Trek," Latency, and the Neverending Story, 43-60 Ilsa J. Bick Abstract: This essay explores the unconscious fantasies of "ST's" master narrative in this neverending story of a company of latency-aged boys and provides a window into certain facets of "ST" fandom. Feminist Enterprise? "Star Trek: The Next Generation" and the Occupation of Femininity, 61-84 Lynne Joyrich Abstract: Using the popular syndicated series, this essay explores the gendered connotations of television reception and their implications for feminism and television studies. Mapping the Hood: The Genealogy of City Space in "Boyz N the Hood" and "Menace II Society", 85-97 Paula J. Massood Abstract: Images of the city in the two films reveal it as both utopia and dystopia and as a primary metaphor for the African American experience. In Memoriam: Nina Leibman (1957-1995), 98 Michele Hilmes Professional Notes, 99-108 Robert Lang, Greg Martino |
| Volume 35 Number 3 |
The Competing Tunes of "Johnny Guitar": Liberalism, Sexuality, Masquerade, 3-18 Jennifer Peterson Abstract: "Johnny Guitar's" allegorical uses of politics and gender are highly contradictory. The film mounts a "liberal" critique of McCarthyism that is undermined by its binary politics, which merely shift blame onto another 1950s bad object: repression in the form of a sexually pathological woman. This apparent misogyny is tempered by other characters' performance of Joan Riviere's masquerade, which ultimately validates a playful gender mobility. When History Films (Try to) Become Paintings, 19-33 Charles Tashiro Abstract: Historical films that evoke famous painting and art styles offer both sensuous spectacle and the satisfaction that results from recognizing famous images. These pleasures result from shared values between filmmakers and audiences. Class, Caste, and Performance in "Subaltern" Feminist Film Theory and Praxis: An Analysis of "Rudaali", 34-51 Radha Subramanyam Abstract: "Rudaali" elaborates on the ambivalences that arise in representing the gendered subaltern, particularly the difficulty of balancing feminist consciousness with the popular appeal that is characteristic of many Indian women's feature films. Gender and the Action Heroine: Hardbodies and the "Point of No Return", 52-71 Jeffrey A. Brown Abstract: The figure of the tough heroine in early 1990s action films crosses variable gender boundaries; she is a performance of masculinity in "Aliens" and "Terminator" and is the reinscription of a feminine masquerade in "Point of No Return." Dialogue Manhattan's Nickelodeons. Sumiko Higashi on Ben Singer's "Manhattan Nickelodeons: New Data on Audiences and Exhibitors", "Cinema Journal" 34, No. 3 (Spring 1995), 72-74 Sumiko Higashi Manhattan Myopia; Or, Oh! Iowa! Robert C. Allen on Ben Singer's "Manhattan Nickelodeons: New Data on Audiences and Exhibitors", "Cinema Journal" 34, No. 3 (Spring 1995), 75-103 Robert C. Allen New York, Just like I Pictured It... Ben Singer Responds, 104-128 Ben Singer Professional Notes, 129-135 Robert Lang, Greg Martino |
| Volume 35 Number 4 |
Front Matter Rethinking National Cinema: Dreyer's "La Passion de Jeanne d'Arc" and the Academic Aesthetic, 3-30 Charles O'Brien Abstract: Placing Dreyer's "La Passion de Jeanne d'Arc" in historical context raises questions about the tendency of film historiography to reduce major film styles of the 1920s to counter-Hollywood avant-garde practices. The First "Perestroika": Soviet Cinema under the First Five-Year Plan, 31-53 Vance Kepley Jr. Abstract: The reorganization of Soviet studios under Stalin's First Five-Year Plan led to a system of central planning, the bureaucratization of cinema affairs, and a dramatic decline in productivity. Body and Soul: The Structure of Meaning in the Boxing Film Genre, 54-69 Leger Grindon Abstract: This essay focuses on the master plots, characterizations, settings, and genre history of boxing in Hollywood fiction films since 1930. Approaching "The Untouchables": Social Science and Moral Panics in Early Sixties Television, 70-87 William Boddy Abstract: Congressional debates over "The Untouchables" and television violence in the early 1960s reveal both the changing modes of production of prime-time programming and larger institutional and social scientific reconceptualizations of the television audience. Being Chinese American, Becoming Asian American: "Chan Is Missing", 88-118 Peter Feng Abstract: Wayne Wang, in "Chan Is Missing," discourses on the heterogeneity of Chinese American identities, paving the way for a fluid notion of how Asian American subjectivities are constructed. Professional Notes, 119-123 Robert Lang, Greg Martino |