Table Of Content

Cinema Journal Annotated Index to Volume 32 Annotations indicate: a = actor/actress; d = director; f = film; m = musician; p = producer; Ss = screenwriter; tv = television series Allen, Richard Caidwell, John Allen, Richard. “Representation, Illusion, and the Caldwell, John. “Televisuality as a Semiotic Ma- Cinema.” 32:2, Winter 1993: 21-48. chine: Emerging Paradigms in Low Theory.” 32:4, This article argues that the concept of il- Summer 1993: 24-48. lusion, understood correctly, is central to our This article examines the way that new aes- experience of the cinema. Two forms of illusion thetic and theoretical paradigms are manufac- are distinguished: reproductive illusion, derived tured by the television industry. Focusing on the from photography as a form of recording; and role of self-theorization in television production projective illusion that depends upon the qual- practice and technology, it shows how the in- ities of the projected moving image. dustry has created a self-conscious critical vo- cabulary that has been largely overlooked. By An American Family tv (1973) adopting an -emic rather than -etic approach, Ruoff, Jeffrey. “Conventions of Sound in Docu- the article attempts to value the industry’s at- mentary. 32:3, Spring 1993: 24-40. tribution of meaning and preoccupation with An American in Paris f (d Vincente Min- style as a basis for better understanding the ide- nelli, 1951) ological effects of the new television. Dalle-Vacche, Angela. “A Painter in Hollywood: Cat People, The f (d Jacques Tourneur, 1942) Vincente Minnelli’s An American in Paris.” 32:1, Fall 1992: 63-83. Berks, John. “What Alice Does: Looking Other- wise at The Cat People.” 32:1, Fall 1992: 26-42. Berks, John Curtin, Michael Berks, John. “What Alice Does: Looking Other- wise at The Cat People.” 32:1, Fall 1992: 26-42. Curtin, Michael. “The Discourse of “Scientific Critical attention to Val Lewton’s and Jacques Anti-Communism’ in the ‘Golden Age’ of Doc- Tourneur’s The Cat People seems to oscillate umentary.” 32:1, Fall 1992: 3-25. within a pro- and anti-psychoanalytic proble- This article analyzes the forces—economic, matic. This article maps that oscillation and then political, institutional, and discursive—that shaped tries to move beyond it by focusing on the figure the process of encoding in network documen- of Alice, the film’s “other” woman, as the site taries of the early 1960s. It explores the ways in where the film becomes socially symbolic. which documentary pretensions to objectivity were articulated with the activist rhetoric of New Bernstein, Matthew Frontier anti-communism. This analysis thereby Bernstein, Matthew. “Hollywood’s Semi-Inde- provides a framework for understanding the truth pendent Production.” 32:3, Spring 1993: 41-54. claims of documentary as historically specific This article documents the virtual identity phenomenae that are complex and often con- of the unit and independent systems of organiz- tadictory. ing production as they developed in Hollywood's Dalle-Vacche, Angela major studios from the 1910s through the 1930s. Dalle-Vacche, Angela. “A Painter in Hollywood: It establishes their similarities in terms of both actual studio practices and the trade discourse Vincente Minnelli’s An American in Paris.” 32:1, Fall 1992: 63-83. surrounding them. It concludes that neither sys- tem guaranteed filmmakers any greater creative In An American in Paris painting has pos- itive and negative connotations. While it can be or procedural autonomy than other methods of organizing studio production. reconciled with Love, painting is also caught between Art and Money. Furthermore, although Blanchard, Terence m it enables self-expression, painting also brings to Gabbard, Krin. “Signifyin(g) the Phallus: Mo’ the surface conflicts of national and sexual iden- Better Blues and Representations of the Jazz tity. Thus Minnelli’s work bears witness to his Trumpet.” 32:1, Fall 1992: 43-62. reputation as a highly visual director in Holly- Cinema Journal 32, No. 4, Summer 1993 71 wood, while it also points to the opposition that Lee, Spike d Hollywood locates between heterosexual mas- Gabbard, Krin. “Signifyin(g) the Phallus: Mo’ culinity and artistic creativity. Better Blues and Representations of the Jazz Fellini, Federico d Trumpet.” 32:1, Fall 1992: 43-62. Stubbs, John C. “The Fellini Manner: Open Form Lewton, Val p and Visual Excess.” 32:4, Summer 1993: 49-64 Berks, John. “What Alice Does: Looking Other- Gabbard, Krin wise at The Cat People.” 32:1, Fall 1992: 26-42. Gabbard, Krin. “Signifyin(g) the Phallus: Mo’ Marnie f (d Alfred Hitchcock, 1964) Better Blues and Representations of the Jazz Knapp, Lucretia. “The Queer Voice in Marnie.” Trumpet.” 32:1, Fall 1992: 43-62. 32:4, Summer 1993: 6-23. Beginning with Louis Armstrong’s extraor- Minnelli, Vincente d dinary popularity in the 1920s, most jazz trum- Dalle-Vacche, Angela. “A Painter in Hollywood: peters have played in a “phallic” style that em- Vincente Minnelli’s An American in Paris.” 32:1, phasizes speed, high notes, and emotional Fall 1992: 63-83. intensity. In the 1950s, however, a number of trumpeters began playing in a “post-phallic” style Miranda, Carmen a that favors finesse and romance over bravado. Roberts, Shari. “ “The Lady in the Tutti-Frutti There is a certain incoherence in Spike Lee’s Hat’: Carmen Miranda, a Spectacle of Ethnicity.” Mo’ Betier Blues because the critique of con- 32:3, Spring 1993: 3-23. ventional phallic masculinity inherent in Terence Mo’ Better Blues f (d Spike Lee, 1990) Blanchard’s playing style (hired to dub in the Gabbard, Krin. ““Signifyin(g) the Phallus: Mo’ trumpet solos) is inconsistent with the film’s em- Better Blues and Representations of the Jazz brace of traditional gender roles. Trumpet.” 32:1, Fall 1992: 43-62. Hitchcock, Alfred d Roberts, Shari Knapp, Lucretia. “The Queer Voice in Marnie.” Roberts, Shari. “ “The Lady in the Tutti-Frutti 32:4, Summer 1993: 6-23. Hat’: Carmen Miranda, a Spectacle of Ethnicity.” Johnson, Kenneth 32:3, Spring 1993: 3-23. Carmen Miranda appealed to female World Johnson, Kenneth. “The Point of View of the War II fans through her double masquerade, her Wandering Camera.” 32:2, Winter 1993: 49-56. This article examines the narratological im- self-preservation as a feminine and ethnic spec- plications of unfiltered camera movement, those tacle, which questions notions of essential fem- moments when the camera detaches itself from inity and racial stereotyping. Although Miranda serving to mediate character point of view. This reinforces stereotypes of Latin American women, camera movement achieves a movement away her text also reveals them as stereotypes, allowing from its conventional role in filtering the story for negotiated readings. through character, revealing the camera itself as Robertson, Pamela the narratorial agent. This particular camera Robertson, Pamela. “ ‘The Kinda Comedy That movement thereby provides traces of enuncia- Imitates Me’: Mae West’s Identification with the tion from which we might imply authorship. Feminist Camp.” 32:2, Winter 1993: 57-72. Knapp, Lucretia This article argues that Mae West created a form of feminist camp by parodically reap- Knapp, Lucretia. “The Queer Voice in Marnie.” propriating the live entertainment traditions of 32:4, Summer 1993: 6-23. burlesque and female impersonation. It suggests This article is an examination of the lesbian that West’s female fans identified with her and gaze and its lack of presence in feminist film that this identification was a camp practice. theory. By directing attention to the significant role Hitchcock's films have played in feminist Ruoff, Jeffrey film theory, it suggests that a reconsideration of Ruoff, Jeffrey. “Conventions of Sound in Docu- Hitchcock's work in terms of the newly evolving mentary. 32:3, Spring 1993: 24-40. queer theory can destabilize certain assumptions This article surveys the uses of sound in of that theory. documentary films, with particular attention to 72 Cinema Journal 32, No. 4, Summer 1993 postwar American narrative films. The relations color. The overall aim of the Fellini manner is of voice-over, dialogue, music, and effects are to “defamiliarize” his film world and demon- compared with those commonly found in the strate its ineffable qualities. cl-csical Hollywood cinema. A detailed analysis Thompson, Kristin ot the 1973 PBS series An American Family shows Thompson, Kristin. “Report of the Ad Hoc Com- the multiple functions of sound in documentary. mittee of the Society for Cinema Studies, ‘Fair Stubbs, John C. Usage Publication of Film Stills.’ ” 32:2, Winter Stubbs, John C. “The Fellini Manner: Open Form 1993: 3-20. and Visual Excess.” 32:4, Summer 1993: 49-64. Tourneur, Jacques d This article is a formalist study of Fellini’s Berks, John. “What Alice Does: Looking Other- manner in terms of his strategies for narrative wise at The Cat People.” 32:1, Fall 1992: 26-42. organization and visual presentation. His nar- West, Mae a rative manner is open and revelatory, privileging Robertson, Pamela. “ “The Kinda Comedy That sequences over the whole and showing only some Imitates Me’: Mae West’s Identification with the aspects of central issues or character. The visual Feminist Camp.” 32:2, Winter 1993: 57-72. manner is one of excess and involves layering the composition, arranging grotesques in galler- Wexman, Virginia Wright ies, pairing characters, juxtaposing elements, and Wexman, Virginia Wright. “SCS President's Re- playing with overflowing forms, textures, and port.” 32:4, Summer 1993: 3-5. Cinema Journal 32, No. 4, Summer 1993 73