| Volume 16 Number 1 |
Georges Méliès and the "Féerie", 1-13 Katherine Singer Kovács Louis Delluc, Film Theorist, Critic, and Prophet, 14-35 Eugene C. McCreary Satie's "Entr'acte:" A Model of Film Music, 36-50 Douglas W. Gallez, Satie Tri-Ergon, Tobis-Klangfilm, and the Coming of Sound, 51-61 Douglas Gomery A Home in the Wilderness: Visual Imagery in John Ford's Westerns, 62-75 Michael Budd Cinema Journal Book Reviews ----------------, 76-79 Alexander Dovzhenko, the Poet as Filmmaker: Selected Writings Marco Carynnyk Kuleshov on Film: Writings by Lev Kuleshov Ronald Levaco Review Author[s]: Philip Rosen The World of Entertainment: Hollywood's Greatest Musicals: The Freed Unit at MGM Hugh Fordin Review Author[s]: Jane Feuer |
| Volume 16 Number 2 |
Towards a Historiography of American Film, 1-25 Charles F. Altman Alexander Black's Picture Plays: 1893-1894, 26-33 Burnes Hollyman, Alexander Black René Clair, "Le Million," and the Coming of Sound, 34-50 Lucy Fischer News Marches in Place: Kane's Newsreel as a Cutting Critique, 51-58 James Damico, Kane The Canadian Wartime Documentary: "Canada Carries on" and "The World in Action", 59-80 William Goetz Cinema Journal Book Reviews ----------------, 81-82 The Big V: A History of the Vitagraph Company Anthony Slide Review Author[s]: Robert C. Allen United Artists: The Company Built by the Stars Tino Balio The American Film Industry Tino Balio Review Author[s]: Calvin Pryluck The Ambiguous Image: Narrative Style in Modern European Cinema Roy Armes Review Author[s]: William Siska |
| Volume 17 Number 1 |
Linguistic Models in Early Soviet Cinema, 1-13 Harvey Denkin Eisenstein as Theorist, 14-29 Dana B. Polan "Ivan the Terrible" and Stalinist Russia: A Reexamination, 30-43 Kristin Thompson Cinema Journal Book Reviews ----------------, 44-46 The Cinema of Federico Fellini Stuart Rosenthal Review Author[s]: Judd Chesler John Ford Joseph McBride, Michael Wilmington The John Ford Movie Mystery Andrew Sarris Review Author[s]: Michael Budd The Art of Alfred Hitchcock, Fifty Years of His Motion Pictures Donald Spoto Review Author[s]: Gorham Kindem Lucy & Ricky & Fred & Ethel. The Story of I Love Lucy Bart Andrews Who Was That Masked Man? The Story of the Lone Ranger David Rothel Review Author[s]: Martin Maloney |
| Volume 17 Number 2 |
Cinema Sings the Blues, 1-12 Charles Merrell Berg The Prokofiev-Eisenstein Collaboration: "Nevsky" and "Ivan" Revisited, 13-35 Douglas W. Gallez A Selected and Annotated Bibliography of Books and Articles on Music in the Cinema, 36-67 Win Sharples Jr. Back Matter |
| Volume 18 Number 1 |
A Narrated Cinema: The Pioneer Story Films of James A. Williamson, 1-28 Martin Sopocy Dziga Vertov as Theorist, 29-44 Vlada Petric "Les Enfants du Paradis": Play of Genres, 45-52 Mirella Jona Affron Irving Lerner: A Filmography and Bibliography, 53-60 Thomas J. Brandon |
| Volume 18 Number 2 |
Introduction to This Special Issue, 1 Douglas Gomery, Robert C. Allen Motion Picture Exhibition in Manhattan 1906-1912: Beyond the Nickelodeon, 2-15 Robert C. Allen Dividing Labor for Production Control: Thomas Ince and the Rise of the Studio System, 16-25 Janet Staiger The Movies Become Big Business: Publix Theatres and the Chain Store Strategy, 26-40 Douglas Gomery The Postwar Struggle for Color, 41-52 Dudley Andrew Cinema Journal Book Reviews ----------------, 53-58 The Celluloid Empire: A History of the American Movie Industry Robert H. Stanley Review Author[s]: Dennis Giles American Silent Film William K. Everson Review Author[s]: Calvin Pryluck |
| Volume 19 Number 1 |
The Early Cinema of Edwin Porter, 1-38 Charles Musser Detours in Film Narrative: The Development of Cross-Cutting, 39-59 André Gaudreault The Narrative Structure of "She Wore a Yellow Ribbon", 60-70 Marshall Deutelbaum The Reflexive Function of Bergman's "Persona", 71-85 Paul Newell Campbell Luis Buñuel and Pierre Louÿs: Two Visions of Obscure Objects, 86-98 Katherine Singer Kovács Cinema Journal Book Reviews ----------------, 99-101 Shakespeare on Film Jack J. Jorgens Review Author[s]: Cathryn A. Nelson |
| Volume 19 Number 2 |
Camera Movement in Edison and Biograph Films, 1900-1906, 1-16 Jon Gartenberg Some Observations on Sternberg and Dietrich, 17-24 Carole Zucker The Film Adaptation of Cocteau's "Les Enfants terribles", 25-40 Edward Baron Turk A Test of American Film Censorship: "Who's Afraid of Virginia Woolf?", 41-55 Leonard J. Leff Cinema Journal Book Reviews ----------------, 56-58 The Most Important and Misappreciated American Films since the Beginning of the Cinema, a Revaluation Conducted by the Royal Film Archive of Belgium Review Author[s]: William Horrigan |
| Volume 20 Number 1 |
Editor's Introduction, 3 Virginia Wright Wexman Performance and Popular Culture, 4-13 John G. Cawelti Abstract: Performance has always held a prominent place in popular art forms, and now, in the Twentieth Century, we have the means to study it. We still, however, lack appropriate critical approaches. Actors as Conventions in the Films of Robert Altman, 14-28 Maurice Yacowar Abstract: Altman's use of an actor may be prompted by the director's personal response to the performer's image or nature or by his awareness of the performer's associations from other films or from real life. His purpose is continually to upset or to challenge his viewer's habitual responses. The Rhetoric of Cinematic Improvisation, 29-41 Virginia Wright Wexman Abstract: One of the experimental acting techniques currently popular in contemporary cinema, improvisation achieves its greatest potential when it is brought into a dynamic relationship with more conventional modes of aesthetic discourse. "Celine and Julie Go Boating" and "Nashville" present contrasting examples of films that use improvisation in a self-conscious way with varying success. Performing Performing: Irony and Affect, 42-52 Charles Affron Abstract: The oscillation between the reality-effect and the fiction-effect in film becomes a source of affect when we see "how" performers express their feelings in the service of their performance and as a reflection of their lives. Lana Turner in "Ziegfeld Girl" and in Douglas Sirk's "Imitation Of Life" is a model for these ambiguities of performance. The Showgirl and the Wolf, 53-67 Jane Gaines Abstract: The spectacle of the showgirl and the active spectator seems to have been a central convention in pictures made during the Second World War. An itemization of the conventionalized culture units of this image and an examination of the way they are cinematically arranged in the spectacle shows the way in which it resolved the opposite expectations that the soldier be both continent and virile. An Interview with Liv Ullmann, 68-78 Virginia Wright Wexman, Liv Ullmann Abstract: The well-known actress discusses her approach to the craft of acting and her working relationship with Ingmar Bergman. On Acting: A Selected Bibliography, 79-85 Gretchen Bisplinghoff |
| Volume 20 Number 2 |
The Demise of Kinemacolor: Technological, Legal, Economic, and Aesthetic Problems in Early Color Cinema History, 3-14 Gorham Kindem Abstract: The attempt by inventors and innovators to stimulate industry adoption and eventual conversion or to survive as exclusive suppliers of technologically innovative feature films is often complicated by technological deficiencies, legal problems relevant to popular demand, and difficulties in maintaining sufficient product supply. The case of Kinemacolor is representative of the problems encountered by other types of motion picture technology throughout film history. The Movie Palace and the Theatrical Sources of Its Architectural Style, 15-37 Charlotte Herzog Abstract: The integration of the functional and iconographic motifs of the earliest movie locales in the single context of the movie palace helped to define the appeal of the movies in the 1920s. It also identified the social function of the movie theater as a tool for smoothing over class distinctions apparent in the earliest showplaces by appealing to a more general family and emerging semi-classless audience. An Innocent Eye? The Career and Documentary Vision of Georges Rouquler up to 1945, 38-62 John H. Weiss Abstract: Georges Rouquier, whose earlier attempts to pursue a filmmaking career were thwarted by the coming of sound, found a new opportunity when the Vichy regime decided to sponsor documentaries. His films made during or immediately after the Occupation were not, however, shaped by Vichy propaganda but by the situation of the Occupation itself and by widely-shared images of French rural life. Film Madness: The Uncanny Return of the Repressed in Polanskl's "The Tenant", 63-73 Linda Williams Abstract: Within the tradition of films about madness Polanski's "The Tenant" belongs neither to the subjective and "unexplained" horror tradition of films like "The Cabinet of Dr. Caligari," nor to the more objective, "explained" tradition of films like "Psycho," but to a more surrealist tradition of films which "understand" madness from within the rules of its own form of discourse. It is this aesthetic appropriation of the form, and not just the content, of madness--the precise logic of Trelkovsky's paranoid associations--that leads finally to an exploration of the problematic unity of a perpetually identifying "self." |