Cinema Journal 2002 - 2003: Vol 42 Index

11 Pages·1.5 MB·English

Brando, Marlon a Citizen Kane f (d Orson Welles, 1941)
Dixon, Simon. “Ambiguous Ecologies: Stardom’s McGowan, Todd. “Looking for the Gaze:
Domestic Mise-en-Scéne.” 42.2 (winter 2003): Lacanian Film Theory and Its Vicissitudes.” 42.3
$1-101. (spring 2003): 27-47.
Bréderna Lejonhjarta (The Lionheart
Cohen, Hubert
Brothers) f (d Olle Hellbom, 1977)
Cohen, Hubert. “The Genesis of Days of Heaven.”
Holmlund, Christine. “Pippi and Her Pals.” 42.2
42.4 (spring 2003): 46-62.
(winter 2003): 3-24.
This article suggests that Old Testament sto-
ries are the source of much of the plot of Terrence
Bronze BuckarooT,he f (d Richard C.
Malick’s second film, Days of Heaven (1978); that
Kahn, 1938)
Leyda, Julia. “Black-Audience Westerns and the a transcendent power intervenes in its events; and
that Malick has therefore created a religious film.
Politics of Cultural Identification in the 1930s.”
42.1 (fall 2002): 46-70.
Cooper, Gary a
Bunuel, Luis d Dixon, Simon. “Ambiguous Ecologies: Stardom’s
Jones, Julie. ““Long Live Death! The End of Domestic Mise-en-Scéne.” 42.2 (winter 2003):
Revolution in Luis Buiiuel’s The Phantom ofL ib- S1-101.
erty.” 42.4 (summer 2003): 63-75.
Cox, Ronny a
Burnett, Mark Thornton
Grady, Frank. “Arnoldian Humanism, or Amne-
Burnett, Mark Thornton. ““To Hear and See the sia and Autobiography in the Schwarzenegger
Matter’: Communicating Technology in Michael
Action Film.” 42.2 (winter 2003): 41-56.
Almereyda’s Hamlet (2000).” 42.3 (spring 2003):
48-69.
This essay argues that Michael Almereyda’s Cronenberg, David d
film Hamlet (2000) is a distinctively postmodernist Grist, Leighton. “It’s Only a Piece of Meat’: Gen-
cinematic statement that charts the ways in which der Ambiguity, Sexuality, and Politics in The Cry-
the act of filmmaking allows a release from the ing Game and M. Butterfly.” 42.4 (summer 2003):
pressures of global capitalism at the same mo- 3-28.
ment as it creates a space for the articulation of a Mathijs, Ernest. “AIDS References in the Criti-
coherent subjectivity. cal Reception of David Cronenberg: ‘It May Not
Be Such a Bad Disease after All.’” 42.4 (summer
Caesar, Sid a 2003): 29-45.
Murray, Susan. “Ethnic Masculinity and Early
Television's Vaudeo Star.” 42.1 (fall 2002): 97-119. Crying Game, The f (d Neil Jordan,
1992)
Cagney, James a
Grist, Leighton. “It’s Only a Piece of Meat’: Gen-
Dixon, Simon. “Ambiguous Ecologies: Stardom’s der Ambiguity, Sexuality, and Politics in The Cry-
Domestic Mise-en-Scéne.” 42.2 (winter 2003): ing Game and M. Butter42f.4l (ysu.mm”er 2003):
81-101. 3-28.
Cayatte, André d
Danielsson, Tage d
Bazin, André. “Three Forgotten French Film-
Holmlund, Christine. “Pippi and Her Pals.” 42.2
makers: André Cayatte, Georges Rouquier, and
Roger Leenhardt.” 42.1 (fall 2002): 3-20. (winter 2003); 3-24.
Charles et Lucie f (d Nelly Kaplan, Davidson, Jaye a
1979) Grist, Leighton. “It’s Only a Piece of Meat’: Gen-
Giukin, Lenuta. “Demystification and Webtopia der Ambiguity, Sexuality, and Politics in The Cry-
in the Films of Nelly Kaplan.” 42.3 (spring 2003): ing Game and M. Butterfly.” 42.4 (summer 2003):
96-113. 3-28.
143
Cinema Journal 42, No. 4, Summer 2003
Davies, Marion a Duel f (d Steven Spielberg, 1970)
Dixon, Simon. “Ambiguous Ecologies: Stardom’s McGowan, Todd. “Looking for the Gaze:
Domestic Mise-en-Scéne.” 42.2 (winter 2003): Lacanian Film Theory and Its Vicissitudes.” 42.3
81-101. (spring 2003)>: 27-47.
Days of Heaven f( d Terrence Malick, Dupont, E. A. d
1978) Guerin, Frances. “Dazzled by the Light: Tech-
Cohen, Hubert. “The Génesis of Days of Heaven.” nological Entertainment and Its Social Impact
42.4 (spring 2003): 46-62. in Varieté.” 42.4 (summer 2003): 98-115.
DeBona, Guerric Elise, Kimberly a
DeBona, Guerric. “Masculinity on the Front: Smith-Shomade, Beretta E. “‘Rock-a-Bye,
John Huston’s The Red Badge of Courage (1951) Baby!’: Black Women Disrupting Gangs and
Revisited.” 42.2 (winter 2003): 57-80. Constructing Hip-Hop Gangsta Films.” 42.2
John Huston’s Red Badge of Courage (1951) (winter 2003): 25-40.
is a marvelous example of literary capital under
the strain of Cold War politics, the changing face Eraser f (d Charles Russell, 1996)
of MGM, and a maverick director. Archival ma- Grady, Frank. “Arnoldian Humanism, or Amne-
terial reproduced and explicated in this essay sug- sia and Autobiography in the Schwarzenegger
gests what might have been. Action Film.” 42.2 (winter 2003): 41-56.
Demme, Jonathan d Farrebique f (d Georges Rouquier,
McGowan, Todd. “Looking for the Gaze: 1947)
Lacanian Film Theory and Its Vicissitudes.” 42.3 Bazin, André. “Three Forgotten French Film-
(spring 2003): 27-47. makers: André Cayatte, Georges Rouquier, and
Roger Leenhardt.” 42.1 (fall 2002): 3-20.
Dixon, Simon
Dixon, Simon. “Ambiguous Ecologies: Stardom’s Fiancée du pirate, La (A Very Curious
Domestic Mise-en-Scéne.” 42.2 (winter 2003): Girl) f (d Nelly Kaplan, 1969)
S§1-101. Giukin, Lenuta. “Demystification and Webtopia
The private lives of film stars are strangely in the Films of Nelly Kaplan.” 42.3 (spring 2003):
contiguous with their roles. Consequently, a film 96-113.
stars home becomes an ambiguous ecology: part
dwelling, part location. Hollywood’s domestic Fiennes, Ralph a
staging in promotional/publicity photo shoots ex- McGowan, Todd. “Looking for the Gaze: Lacan-
presses the semifictional condition of the mecha- ian Film Theory and Its Vicissitudes.” 42.3
nism of stardom and suggests a cross-pollination (spring 2003): 27-47.
between the art of the film industry and the life of
suburban Los Angeles. Further, a star’s masculin- Flaherty, Robert d
ity as displayed through décor provides a measure White, Jerry. “Arguing with Ethnography. The
of Hollywood's gendering of domestic space. Films of Bob Quinn and Pierre Perrault.” 42.2
(winter 2003): 101-24.
Down Argentine Way f (d Irving
Cummings, 1940) Fly, The f (d David Cronenberg, 1986)
Griffin, Sean. “The Gang’s All Here: Generic ver- Mathijs, Ernest. “AIDS References in the Criti-
sus Racial Integration in the 1940s Musical.” 42.1 cal Reception of David Cronenberg: ‘It May Be
(fall 2002): 21-45. Not Such a Bad Disease after All.” 42.4 (sum-
mer 2003): 29-45.
Du ar inte klok, Madicken (You’re Out
of Your Mind, Madicken) f (d Goren Flynn, Errol a
Graffman, 1979) Dixon, Simon. “Ambiguous Ecologies: Stardom’s
Holmlund, Christine. “Pippi and Her Pals.” 42.2 Domestic Mise-en-Scéne.” 42.2 (winter 2003):
(winter 2003): 3-24. §1-101.
144
Cinema Journal 42, No. 4, Summer 2003
Foster, Jodie a hibits the kind of “political amnesia” that Michael
McGowan, Todd. “Looking for the Gaze: Lacan- Rogin has called an essential aspect of the
ian Film Theory and Its Vicissitudes.” 42.3 (spring “postmodern American empire.” At the same
2003): 27-47. time, the film insistently undermines the cin-
ematic amnesia that helps to make film narrative
Fox, Vivica A. a possible, by repeatedly representing the cin-
Smith-Shomade, Beretta E. ““Rock-a-Bye, Baby!’: ematic apparatus within the film’s own story. The
Black Women Disrupting Gangs and Construct- relationship between these two impulses—
ing Hip-Hop Gangsta Films.” 42.2 (winter 2003): broadly, the film’s recuperation of its political
25-40. content and its interrogation of its cinematic
form—is the subject of this essay.
FuneralT,he f (d itami Juzo, 1984)
Serper, Zvika. “Eroticism in Itami’s The Funeral Graffman, Goren d
and Tampopo: Juxtaposition and Symbolism.” 42.3 Holmlund, Christine. “Pippi and Her Pals.” 42.2
spring 2003): 70-95. (winter 2003): 3-24.
Gang’s All Here, The f (d Busby Grammatikov, Viadimir d
Berkeley, 1943)
Holmlund, Christine. “Pippi and Her Pals.” 42.2
Griffin, Sean. “The Gang’s All Here: Generic ver- (winter 2003): 3-24.
sus Racial Integration in the 1940s Musical.” 42.1
fall 2002): 21-45. Gray, F. Gary d
Smith-Shomade, Beretta E. “Rock-a-Bye, Baby!’:
Geisler, Bobby p
Black Women Disrupting Gangs and Constructing
Cohen, Hubert. “The Genesis of Days of Heaven.” Hip-Hop Gangsta Films.” 42.2 (winter 2003): 2540.
42.4 (spring 2003): 46-62.
Griffin, Sean
Gere, Richard a
Griffin, Sean. “The Gang’s All Here: Generic ver-
Cohen, Hubert. “The Genesis of Days of Heaven.” sus Racial Integration in the 1940s Musical.” 42.1
42.4 (spring 2003): 46-62. (fall 2002): 21-45.
The integrated musical of the late 1940s (led
Gilda f (d Charles Vidor, 1946)
by MGM) often excluded minority performers in
McLean, Adrienne L. “New Films in Story Form’: an attempt to create a utopian environment. In
Movie Story Magazines and Spectatorship.” 42.3 contrast, Fox’s nonintegrated musicals of the early
(spring 2003): 3-26. 1940s negotiated a space for these performers,
which, while problematic, created opportunities
Giukin, Lenuta
for individual agency.
Giukin, Lenuta. “Demystification and Webtopia in the
Filomf Nsel ly Kaplan.” 42.3 (spring 2003): 96-113. Grist, Leighton
This essay analyzes the utopian world of Nelly Grist, Leighton. “It’s Only a Piece of Meat’: Gen-
Kaplan’s films, in which the witty, subversive acts der Ambiguity, Sexuality, and Politics in The Cry-
of her heroines become powerful statements in ing Game and M. Butterfly.” 42.4 (summer 2003):
favofo wormen . Fascinating and horrifving at the 3-28.
same time, the alternatives Kaplan offers to pa- Presenting a primarily psychoanalytic discus-
triarchy are not all that perfect, but her strong sion of The Crying Game and M. Butterfly, this
characters do reflect the filmmaker’s determina- article elaborates on existing and predominantly
tion to transform the world (Marx) and change homosexual readings of these films and examines
life (Rimbaud). the connotations of the particular relation that
they imply between the sexual and the political.
Grady, Frank
Grady, Frank. “Amoldian Humanism, or Amne- Guerin, Frances
sia and Autobiography in the Schwarzenegger Guerin, Frances. “Dazzled by the Light: Tech-
Action Film.” 42.2 (winter 2003): 41-56. nological Entertainment and Its Social Impact in
The 1991 science-fiction film Total Recall ex- Varieté.” 42.4 (summer 2003): 98-115.
145
Cinema Journal 42, No. 4, Summer 2003
This article proposes that E. A. Dupont’s 1925 Hoger, Hannelore a
film Varieté both represents the variety acts that Von Moltke, Johannes. “Home Again: Revisiting
were so popular in Weimar Germany and be- the New German Cinema in Edgar Reitz’s Die
comes such an act itself. Simultaneously, the Zweite Heimat (1993).” 42.3 (spring 2003): 114—43.
film depicts how variety shows aroused illicit
sexual energy in their participants. Thus, Holmlund, Christine
through its discourse on the social effects of
Holmlund, Christine. “Pippi and Her Pals.” 42.2
the burgeoning entertainment industry, Varieté (winter 2003): 3-24.
can be interpreted as engaging analytically
This article explores the fascination of Swed-
with the technological world in which it was pro- ish audiences with the forty-plus films based on
duced.
Astrid Lindgren’s children’s books, Pippi
Longstocking foremost among them. Following
Gunvall, Per d
Lindgren’s death in 2002, will these films con-
Holmlund, Christine. “Pippi and Her Pals.” 42.2
tinue to play a unifying function in an increas-
(winter 2003); 3-24. ingly multicultural Sweden?
Guro Aryrang f (d Jong-Won Park,
Hopkins, Anthony a
1989)
McGowan, Todd. “Looking for the Gaze: Lacan-
Park, Seung Hyun. “Film Censorship and Politi-
ian Film Theory and Its Vicissitudes.” 42.3 (spring
cal Legitimation in South Korea, 1987-1992.”
2003): 27-47.
42.1 (fall 2002): 120-38.
Hallstrom, Lasse d Husberg, Rolf d
Holmlund, Christine. “Pippi and Her Pals.” 42.2 Holmlund, Christine. “Pippi and Her Pals.” 42.2
(winter 2003): 3-24. (winter 2003); 3-24.
Hamlet f (d Michael Almereyda, 2000) Huston, John d
Burnett, Mark Thornton. ““To Hear and See the DeBona, Guerric. “Masculinity on the Front:
Matter’: Communicating Technology in Michael John Huston’s The Red Badge of Courage (1951)
Almereyda’s Hamlet (2000).” 42.3 (spring 2003): Revisited.” 42.2 (winter 2003): 57-80.
45-69.
Ichaso, Leon d
Harlem on the Prairie f(d Sam Smith-Shomade, Beretta E. “Rock-a-Bye, Baby!’:
Newfield, 1937)
Black Women Disrupting Gangs and Construct-
Leyda, Julia. “Black-Audience Westerns and the ing Hip-Hop Gangsta Films.” 42.2 (winter 2003):
Politics of Cultural Identification in the 1930s.” 25-40.
42.1 (fall 2002): 46-70.
lrons, Jeremy a
Harlem Rides the Range f (d Richard
C. Kahn, 1939) Grist, Leighton. “It’s Only a Piece of Meat’: Gen-
der Ambiguity, Sexuality, and Politics in The Cry-
Leyda, Julia. “Black-Audience Westerns and the
ing Game and M. Butterfly4.2”. 4 (summer 2003):
Politics of Cultural Identification in the 1930s.”
42.1 (fall 2002): 46-70. 3-28.
Hawke, Ethan a It f (d Clarence Badger, 1927)
Orgeron, Marsha. “Making It in Hollywood: Clara
Burnett, Mark Thornton. ““To Hear and See the
Matter’: Communicating Technology in Michael Bow, Fandom, and Consumer Culture.” 42.4
Almereyda’s Hamlet (2000).” 42.3 (spring 2003): (summer 2003): 76-97.
48-69.
Itami Juzo d
Hellbom, Olle d Serper, Zvika. “Eroticism in Itami’s The Funeral
Holmlund, Christine. “Pippi and Her Pals.” 42.2 and Tampopo: Juxtaposition and Symbolism.” 42.3
(winter 2003); 3-24. (spring 2003): 70-95.
146
Cinema Journal 42, No. 4, Summer 2003
Jeffrey, Herb (aka Herb Jeffries) a Last Action Hero f (d John McTiernan,
Leyda, Julia. “Black-Audience Westerns and the 1993)
Politics of Cultural Identification in the 1930s.” Grady, Frank. “Arnoldian Humanism, or Amne-
42.1 (fall 2002): 46-70. sia and Autobiography in the Schwarzenegger
Action Film.” 42.2 (winter 2003): 41-56.
Johns, Tracy Camilla a
Last VacationT,he f (d Roger
Smith-Shomade, Beretta E. “Rock-a-Bye, Baby!’:
Leenhardt, 1948)
Black Women Disrupting Gangs and Construct-
Bazin, André. “Three Forgotten French Film-
ing Hip-Hop Gangsta Films.” 42.2 (winter 2003):
makers: André Cayatte, Georges Rouquier, and
25—40.
Roger Leenhardt.” 42.1 (fall 2002): 3-20.
Jones, Julie Latifah, Queen a
Jones, Julie. “‘Long Live Death!’ The End of Smith-Shomade, Beretta E. “*Rock-a-Bye, Baby!’:
Revolution in Luis Buiuel’s The Phantom ofL ib- Black Women Disrupting Gangs and Construct-
erty.” 42.4 (summer 2003): 63-75. ing Hip-Hop Gangsta Films.” 42.2 (winter 2003):
The confrontation between France and Spain 25-40.
in the Napoleonic period imaged in the prologue
to Luis Buiiuel’s Phantom of Liberty (1974) in- Leenhardt, Roger d
troduces themes explored throughout the film: Bazin, André. “Three Forgotten French Film-
the cultural and historical forces that shape na- makers: André Cayatte, Georges Rouquier, and
tional identity, the contradictory nature of free- Roger Leenhardt.” 42.1 (fall 2002): 3-20.
dom, the connection between political and
psychological realities (Oedipal conflicts both), Let There Be Light f (d John Huston,
and the enduring presence of Francisco Goya. 1946)
DeBona, Guerric. “Masculinity on the Front:
Jordan, Neil d John Huston’s The Red Badge of Courage (1951)
Revisited.” 42.2 (winter 2003): 57-80.
Grist, Leighton. “It’s Only a Piece of Meat’: Gen-
der Ambiguity, Sexuality, and Politics in The Cry-
Leyda, Julia
ing Gamaned M. Butterfly.” 42.4 (summer 2003):
3-28. Leyda, Julia. “Black-Audience Westerns and the
Politics of Cultural Identification in the 1930s.”
42.1 (fall 2002): 46-70.
Justice Is Done f (d André Cayatte,
This essay argues that the black-audience mu-
1950)
sical westerns of the late 1930s attempted to
Bazin, André. “Three Forgotten French Film-
reconfigure African American national identity in
makers: André Cayatte, Georges Rouquier, and their casting but also by strategically using anach-
Roger Leenhardt.” 42.1 (fall 2002): 3-20. ronism and geographical juxtaposition. These
westerns created a dual present by using the trope
Kaplan, Nelly d of contemporary Harlem alongside the nine-
Giukin, Lenuta. “Demystification and Webtopia teenth-century setting, thereby ironically echo-
in the Films of Nelly Kaplan.” 42.3 (spring 2003): ing the western expansionist movement in a
96-113. cinematic African American West.
Lone, John a
Kuroda Fukumi a
Grist, Leighton. “It’s Only a Piece of Meat’: Gen-
Serper, Zvika. “Eroticism in Itami’s The Funeral
der Ambiguity, Sexuality, and Politics in The Cry-
and Tampopo: Juxtaposition and Symbolism.” 42.3
ing Game and M. Butterfly.” 42.4 (summer 2003):
spring 2003): 70-95. 3-28.
Langella, Frank a Lufferen och Rasmus (The Tramp and
McGowan, Todd. “Looking for the Gaze: Rasmus) f (d Rolf Husberg, 1955)
Lacanian Film Theory and Its Vicissitudes.” 42.3 Holmlund, Christine. “Pippi and Her Pals.” 42.2
(spring 2003): 27-47. (winter 2003): 3-24.
147
Cinema Journal 42. No. 4, Summer 2003
Lynch, David d McLaughian, Kyle a
McGowan, Todd. “Looking for the Gaze: Lacan- Burnett, Mark Thornton. ““To Hear and See the
ian Film Theory and Its Vicissitudes.” 42.3 (spring Matter’: Communicating Technology in Michael
2003): 27-47. Almereyda’s Hamlet (2000).” 42.3 (spring 2003):
48-69.
M. Butterfly f (d David Cronenberg, McGowan, Todd. “Looking for the Gaze:
1993) Lacanian Film Theory and Its Vicissitudes.” 42.3
Grist, Leighton. “It’s Only a Piece of Meat’: Gen- (spring 2003): 27-47.
der Ambiguity, Sexuality, and Politics in The Cry-
ing Game and M. Butterfly.” 42.4 (summer 2003):
McLean, Adrienne L.
3-28.
McLean, Adrienne L. “‘New Films in Story Form’:
Movie Story Magazines and Spectatorship.” 42.3
Madicken pa Junibacken (Madicken
(spring 2003): 3-26.
of Junibacken) f (d Goran Graffman,
This essay focuses on a seldom studied but long-
1980) : lived and robust ancillary product of classical Hol-
Holmlund, Christine. “Pippi and Her Pals.” 42.2 lywood cinema, the monthly movie story magazines
(winter 2003); 3> -24. devoted to article-length fictionalizations of fea-
ture films. These magazines flourished in a variety
Man of Aran f (d Robert Flaherty, 1934) of forms from the late 1920s through the 1970s.
White, Jerry. “Arguing with Ethnography. The
Films of Bob Quinn and Pierre Perrault.” 42.2
Meet Me in St. Louis f (d Vincente
(winter 2003): 101-24.
Minnelli, 1944)
Griffin, Sean. “The Gang’s All Here: Generic ver-
Manz, Linda a
sus Racial Integration in the 1940s Musical.” 42.1
Cohen, Hubert. “The Genesis of Days of Heaven.”
(fall 2002): 21-45.
42.4 (spring 2003); 46-62.
Mathijs, Ernest Micheaux, Oscar d, p
Mathijs, Ernest. “AIDS References in the Criti- Leyda, Julia. “Black-Audience Westerns and the
cal Reception of David Cronenberg: ‘It May Not Politics of Cultural Identification in the 1930s.”
Be Such a Bad Disease after All.” 42.4 (summer 42.1 (fall 2002): 46-70.
2003): 29-45.
This essay argues that authors of reception Michele, Michael a
studies need to pay greater attention to topical
Smith-Shomade, Beretta E. “‘Rock-a-Bye, Baby!’:
and rhetorical references in film criticism. Spe- Black Women Disrupting Gangs and Construct-
cifically, the article analyzes references to AIDS
ing Hip-Hop Gangsta Films.” 42.2 (winter 2003):
in criticism of the films of David Cronenberg, with
25-40.
particular emphasis on The Fly (1986).
Mauldin, Bill a Mio, min Mio (Mio, My Son) f( d
DeBona, Guerric. “Masculinity on the Front: John Viadimir Grammatikov, 1987)
Huston’s The Red Badge of Courage (1951) Re- Holmlund, Christine. “Pippi and Her Pals.” 42.2
visited.” 42.2 (winter 2003): 57-80. (winter 2003): 3-24.
McGowan, Todd
Miranda, Carmen a, m
McGowan, Todd. “Looking for the Gaze:
Lacanian Film Theory and Its Vicissitudes.” 42.3 Griffin, Sean. “The Gang’s All Here: Generic ver-
(spring 2003): 27-47. sus Racial Integration in the 1940s Musical.” 42.1
Film theory’s encounter with Jacques Lacan (fall 2002): 21-45.
has focused on the identification of the spectator
with a gaze of mastery. This article argues that Mix, Tom a
this involves a misreading of Lacan’s concept of Dixon, Simon. “Ambiguous Ecologies: Stardom’s
the gaze, and it focuses on the gaze as an instance Domestic Mise-en-Scéne.” 42.2 (winter 2003):
of the object petit a. 81-101.
148
Cinema Journal 42, No. 4, Summer 2003
Miyamoto Nobuko a Orgeron, Marsha
Serper, Zvika. “Eroticism in Itami’s The Funeral Orgeron, Marsha. “Making It in Hollywood: Clara
and Tampopo: Juxtaposition and Symbolism.” 42.3 Bow, Fandom, and Consumer Culture.” 42.4
(spring 2003): 70-95. (summer 2003): 76-97.
Fan magazines had a dramatic impact on ac-
Monroe, Marilyn a tress Clara Bow’s career and on female fandom
Dixon, Simon. “Ambiguous Ecologies: Stardom’s more generally. This article examines Bow’s 1927
Domestic Mise-en-Scéne.” 42.2 (winter 2003): star vehicle It as a parable for fan culture, par-
81-101. ticularly for the ways that fan magazines con-
structed their female readers and Hollywood films
Murphy, Audie a addressed their female spectators.
DeBona, Guerric. “Masculinity on the Front:
John Huston’s The Red Badge of Courage (1951) Park, Seung Hyun
Revisited.” 42.2 (winter 2003): 57-80. Park, Seung Hyun. “Film Censorship and Politi-
cal Legitimation in South Korea, 1987-1992.” 42.1
Murray, Susan (fall 2002): 120-38.
Murray, Susan. “Ethnic Masculinity and Early This article explores the relation between film
Television’s Vaudeo Star.” 42.1 (fall 2002): 97-119. censorship and political legitimacy in South Ko-
This article discusses how the seemingly con- rea durintgh e period from 1987 to 1992. Not only
tradictory construction of many early television did censorship prevent local filmmakers from
comedy stars bespeaks rather coherent symbolic making films that the authorities thought would
constructions of ethnicity, masculinity, and anxi- be offensive or detrimental to the government's
eties over the changing demographics of the political agenda: it also played a role in legitimat-
American cultural landscape. ing the hard-line right-wing regime.
Néa f (d Nelly Kaplan, 1976)
Pattes de velour (Soft Paws) tv (d
Giukin, Lenuta. “Demystification and Webtopia Nelly Kaplan, 1985)
in the Filomf Nsel ly Kaplan.” 42.3 (spring 2003):
Giukin, Lenuta. “Demystification and Webtopia
96-113. in the Films of Nelly Kaplan.” 42.3 (spring 2003):
New Jack City f (d Mario Van Peebles, 96-113.
1991)
Payne, Allen a
Smith-Shomade, Beretta E. “ Rock-a-Bye, Baby!’:
Smith-Shomade, Beretta E. “ Rock-a-Bye, Baby!’:
Black Women Disrupting Gangs and Construct-
Black Women Disrupting Gangs and Construct-
ing Hip-Hop Gangsta Films.” 42.2 (winter 2003):
ing Hip-Hop Gangsta Films.” 42.2 (winter 2003):
25-40.
25-40.
Nicholas Brothers (Fayard and
Pays sans bon sens!, Un f (d Pierre
Harold) a
Perrault, 1970)
Griffin, Sean. “The Gang’s All Here: Generic ver-
White, Jerry. “Arguing with Ethnography. The
sus Racial Integration in the 1940s Musical.” 42.1
(fall 2002): 21-45. Films of Bob Quinn and Pierre Perrault.” 42.2
winter 2003): 101-24.
Night before the Strike, The f (d
Jangsan Godmae, 1990) Perrault, Pierre d
Park, Seung Hyun. “Film Censorship and Politi- White, Jerry. “Arguing with Ethnography. The
cal Legitimation in South Korea, 1987-1992.” Films of Bob Quinn and Pierre Perrault.” 42.2
42.1 (fall 2002): 120-38. (winter 2003): 101-24.
Ninth Gate, The f (d Roman Polanski, Phantom of Liberty, The f (d Luis
1999) Bunuel, 1974)
McGowan, Todd. “Looking for the Gaze: Lacan- Jones, Julie. “‘Long Live Death! The End of
ian Film Theory and Its Vicissitudes.” 42.3 (spring Revolution in Luis Buiuel’s The Phantom of Lib-
2003): 27-47. erty.” 42.4 (summer 2003): 63-75.
149
Cinema Journal 42, No. 4, Summer 2003
Pippi Langstrump (Pippi Rea, Stephen a
Longstocking) f (d Per Gunvall, 1949) Grist, Leighton. “It’s Only a Piece of Meat’: Gen-
Holmlund, Christine. “Pippi and Her Pals.” 42.2 der Ambiguity, Sexuality, and Politics in The Cry-
(winter 2003): 3-24. ing Gamaned M. Butterfly.” 42.4 (summer 2003):
3-28.
Plaisir d’amour (Pleasure of Love) f (d
Nelly Kaplan, 1991) Reckless f (d Victor Fleming, 1935)
Giukin, Lenuta. “Demystification and Webtopia McLean, Adrienne L. “‘New Films in Story Form’:
in the Films of Nelly Kaplan.” 42.3 (spring 2003): Movie Story Magazines and Spectatorship.” 42.3
96-113. (spring 2003): 3-26.
Pobol ij London/Flytippers f (d Bob Red Badge of CourageT,he f (d John
Quinn, 1987)
Huston, 1951)
White, Jerry. “Arguing with Ethnography. The
DeBona, Guerric. “Masculinity on the Front:
Films of Bob Quinn and Pierre Perrault.” 42.2 John Huston’s The Red Badge of Courage (1951)
(winter 2003): 101-24. Revisited.” 42.2 (winter 2003): 57-80.
Poitin f (d Bob Quinn, 1977)
Reitz, Edgar d
White, Jerry. “Arguing with Ethnography. The
Von Moltke, Johannes. “Home Again: Revisiting
Films of Bob Quinn and Pierre Perrault.” 42.2
the New German Cinema in Edgar Reitz’s Die
(winter 2003): 101-24.
Zweite Heimat (1993).” 42.3 (spring 2003): 114-43.
Polanski, Roman d
Richardson, Miranda a
McGowan, Todd. “Looking for the Gaze:
Grist, Leighton. “It’s Only a Piece of Meat’: Gen-
Lacanian Film Theory and Its Vicissitudes.” 42.3
der Ambiguity, Sexuality, and Politics in The Cry-
(spring 2003): 27-47.
ing Game and M. Butterfly.” 42.4 (summer 2003):
3-28.
Pour la suite du monde f( d Pierre
Perrault and Michel Brault, 1963)
White, Jerry. “Arguing with Ethnography. The Robinson, Edward G. a
Films of Bob Quinn and Pierre Perrault.” 42.2 Dixon, Simon. “Ambiguous Ecologies: Stardom’s
(winter 2003): 101-24. Domestic Mise-en-Scéne.” 42.2 (winter 2003):
81-101.
Powell, Dick a
Dixon, Simon. “Ambiguous Ecologies: Stardom’s Ronia, the Robber’s Daughter f (d
Domestic Mise-en-Scéne.” 42.2 (winter 2003): Tage Danielsson, 1984)
81-101. Holmlund, Christine. “Pippi and Her Pals.” 42.2
(winter 2003): 3-24.
Quinn, Bob d
White, Jerry. “Arguing with Ethnography. The Rossellini, Isabella a
Films of Bob Quinn and Pierre Perrault.” 42.2 McGowan, Todd. “Looking for the Gaze:
(winter 2003): 101-24. Lacanian Film Theory and Its Vicissitudes.” 42.3
(spring 2003): 27-47.
Randall, Theresa a
Smith-Shomade, Beretta E. “Rock-a-Bye, Baby!’: Roth, Franka
Black Women Disrupting Gangs and Construct- Von Moltke, Johannes. “Home Again: Revisiting
ing Hip-Hop Gangsta Films.” 42.2 (winter 2003): the New German Cinema in Edgar Reitz’s Die
25-40. Zweite Heimat (1993).” 42.3 (spring 2003): 114-43.
Rasmus pa luffen (Rasmus on the Rouch, Jean d
Road) f (d Olle Hellbom, 1981) White, Jerry. “Arguing with Ethnography. The
Holmlund, Christine. “Pippi and Her Pals.” 42.2 Films of Bob Quinn and Pierre Perrault.” 42.2
(winter 2003): 3-24. (winter 2003); 101-24.
150
Cinema Journal 42, No. 4, Summer 2003
Rouquier, Georges d Silence of the Lambs f (d Jonathan
Bazin, André. “Three Forgotten French Film- Demme, 1991)
makers: André Cayatte, Georges Rouquier, and McGowan, Todd. “Looking for the Gaze:
Roger Leenhardt.” 42.1 (fall 2002): 3-20. Lacanian Film Theory and Its Vicissitudes.” 42.3
(spring 2003): 27-47.
Ryder, Winona a
Dixon, Simon. “Ambiguous Ecologies: Stardom’s
Smith, Jada Pinkett a
Domestic Mise-en-Scéne.” 42.2 (winter 2003):
Smith-Shomade, Beretta E. “‘Rock-a-Bye, Baby!’:
81-101.
Black Women Disrupting Gangs and Construct-
Schindler’s List f (d Steven Spielberg, ing Hip-Hop Gangsta Films.” 42.2 (winter 2003):
1993) 25-40.
McGowan, Todd. “Looking for the Gaze:
Lacanian Film Theory and Its Vicissitudes.” 42.3 Smith-Shomade, Beretta E.
(spring 2003): 27-47. Smith-Shomade, Beretta E. “Rock-a-Bye, Baby!’:
Black Women Disrupting Gangs and Construct-
Schwarzenegger, Arnold a ing Hip-Hop Gangsta Films.” 42.2 (winter 2003):
Grady, Frank. “Arnoldian Humanism, or Amne- 25-40.
sia and Autobiography in the Schwarzenegger This essay examines the cultural specificity of
Action Film.” 42.2 (winter 2003): 41-56. the gangster genre. In hip-hop gangsta films, the
inclusion of black women as central to the gang-
Serper, Zvika ster business not only transforms the gangster
Serper, Zvika. “Eroticism in Itami’s The Funeral genre but, more important, adheres to black cul-
and Tampopo: Juxtaposition and Symbolism.” 42.3 tural norms. The films New Jack City, Sugar Hill,
(spring 2003): 70-95. and Set It Off serve as case studies.
Itami creates eroticism in The Funeral (1984)
and Tampopo (1985) by combining traditional Snipes, Wesley a
Japanese notions of aesthetics with a contempo-
Smith-Shomade, Beretta E. “Rock-a-Bye, Baby!’:
rary attitude toward the depiction of sex. Similar
Black Women Disrupting Gangs and Construct-
to their manifestations in other traditional and
ing Hip-Hop Gangsta Films.” 42.2 (winter 2003):
modern Japanese performing and visual arts, the
25-40.
shape and color of clothing, covering/uncovering
the body, and objects are juxtaposed to give them
symbolic sexual meaning. Spielberg, Steven d
McGowan, Todd. “Looking for the Gaze:
Set It Off f (d F. Gary Gray, 1996) Lacanian Film Theory and Its Vicissitudes.” 42.3
Smith-Shomade, Beretta E. “ Rock-a-Bye, Baby!’: (spring 2003): 27-47.
Black Women Disrupting Gangs and Construct-
ing Hip-Hop Gangsta Films.” 42.2 (winter 2003): Stallone, Sylvester a
25-40. Dixon, Simon. “Ambiguous Ecologies: Stardom’s
Domestic Mise-en-Scéne.” 42.2 (winter 2003):
Shepard, Sam a
S1-101.
Burnett, Mark Thornton. “To Hear and See the
Matter’: Communicating Technology in Michael
Stiles, Julia a
Almereyda’s Hamlet (2000).” 42.3 (spring 2003):
45-69. Burnett, Mark Thornton. ““To Hear and See the
Cohen, Hubert. “The Genesofi Dsay s of Heaven.” Matter’: Communicating Technology in Michael
42.4 (spring 2003): 46-62. Almereyda’s Hamlet (2000).” 42.3 (spring 2003):
48-69.
Shivers f (David Cronenberg, 1975)
Mathijs, Ernest. “AIDS Reterences in the Criti- Stone, Sharon a
cal Reception of David Cronenberg: “It May Not Grady, Frank. “Arnoldian Humanism, or Amne-
Be Such a Bad Disease after All.” 42.4 (summer sia and Autobiography in the Schwarzenegger
2003): 29-45. Action Film.” 42.2 (winter 2003): 41-56.
151
Cinema Journal 42, No. 4, Summer 2003
Sugar Hill f (d Leon Ichaso, 1993) Van Peebles, Mario d
Smith-Shomade, Beretta E. “‘Rock-a-Bye, Baby!’: Smith-Shomade, Beretta E. ““Rock-a-Bye, Baby!’:
Black Women Disrupting Gangs and Construct- Black Women Disrupting Gangs and Construct-
ing Hip-Hop Gangsta Films.” 42.2 (winter 2003): ing Hip-Hop Gangsta Films.” 42.2 (winter 2003):
25-40. 25-40.
Swanson, Gloria a Varieté f (d E. A. Dupont, 1925)
Dixon, Simon. “Ambiguous Ecologies: Stardom’s Guerin, Frances. “Dazzled by the Light: Tech-
Domestic Mise-en-Scéne.” 42.2 (winter 2003): nological Entertainment and Its Social Impact in
81-101. Varieté.” 42.4 (summer 2003): 98-115,
Verhoeven, Paul d
Sylvia Scarlett f (d George Cukor, 1936)
McLean, Adrienne L. “‘New Films in Story Form’: Grady, Frank. “Arnoldian Humanism, or Amne-
Movie Story Magazines and Spectatorship.” 42.3 sia and Autobiography in the Schwarzenegger
Action Film.” 42.2 (winter 2003): 41-56.
(spring 2003): 3-26.
Tampopo f( d Itami Juzo, 1985) Von Moltke, Johannes
Von Moltke, Johannes. “Home Again: Revisiting
Serper, Zvika. “Eroticism in Itami’s The Funeral
the New German Cinema in Edgar Reitz’s Die
and Tampopo: Juxtaposition and Symbolism.” 42.3
Zweite Heimat (1993).” 42.3 (spring 2003): 114-43.
(spring 2003): 70-95.
This critical reading of Die Zweite Heimat,
Edgar Reitz’s sequel to Heimat, argues that the
Thin Red Line, The f (d Terrence thirteen-part series elaborates a self-reflexive
Malick, 1998)
commentary on the New German Cinema
Cohen, Hubert. “The Genesis of Days of Heaven.” through tropes of Heimat. The particular focus is
42.4 (spring 2003): 46-62. on the nostalgic perspective Reitz takes to chroni-
cling the demise of the aesthetic avant-garde to-
Ticotin, Rachel a ward the end of the 1960s.
Grady, Frank. “Arnoldian Humanism, or Amne-
sia and Autobiography in the Schwarzenegger Weaver, Dennis a
Action Film.” 42.2 (winter 2003): 41-56. McGowan, Todd. “Looking for the Gaze:
Lacanian Film Theory and Its Vicissitudes.” 42.3
Total Recall f (d Paul Verhoeven, 1991) (spring 2003): 27-47.
Grady, Frank. “Arnoldian Humanism, or Amne-
sia and Autobiography in the Schwarzenegger Welles, Orson d, a
Action Film.” 42.2 (winter 2003): 41-56. McGowan, Todd. “Looking for the Gaze:
Lacanian Film Theory and Its Vicissitudes.” 42.3
True Lies f (d James Cameron, 1994) (spring 2003): 27-47.
Grady, Frank. “Arnoldian Humanism, or Amne-
sia and Autobiography in the Schwarzenegger Whitaker, Forest a
Action Film.” 42.2 (winter 2003): 41-56. Grist, Leighton. “It’s Only a Piece of Meat’:
Gender Ambiguity, Sexuality, and Politics in The
Two-Gun Man from Harlem f( d Crying Game and M. Butterfly.” 42.4 (summer
Richard C. Kahn, 1939) 2003): 3-28.
Leyda, Julia. “Black-Audience Westerns and the
Politics of Cultural Identification in the 1930s.” White, Jerry
42.1 (fall 2002): 46-70. White, Jerry. “Arguing with Ethnography. The
Films of Bob Quinn and Pierre Perrault.” 42.2
Valentino, Rudolph a (winter 2003): 101-24.
Dixon, Simon. “Ambiguous Ecologies: Stardom’s This article discusses the films of Pierre
Domestic Mise-en-Scéne.” 42.2 (winter 2003): Perrault and Bob Quinn, which are engaged in
§1-101. a kind of discussion with ethnographic practice
152
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