Table Of Content

Cinema Journal Annotated Index to Volume 34 Annotations indicate: a = actor/actress; 4 = director; f= film; m = musician; p = producer; $s = screenwriter; tv = teievision series African Queen, The f (1951, d John China, Rouch’s The Lionhunters, and Trinh Huston) Minh-hass work, opens up new planes across Brill, Lesley. “The Marriage of Fire and Water: which these systems can move, bend, and dis- Huston’s The African Queen.” 34:2, winter solve. 1995: 3-21. Basic Instinct f (1992, d Paul Verhoeven) Anderegg, Michael Holmlund, Chris. “Cruisin for a Bruisin’: Hol- Anderegg, Michael. “Home Front America and lywood’s Deadly (Lesbian) Dolls.” 34:1, fall the Denial of Death in MGM’s The Human 1994: 31-51. Comedy.” 34:1, fall 1994: 3-17. La Belle et la Béte f (d Jean Cocteau, The Human Comedy (MGM, 1943), a 1946) “home front” film of World War II, attempts to come to terms with the crucial issue of the Erb, Cynthia. “Another World or the World of an Other? The Space of Romance in Recent Ver- death of a loved one in wartime, at once fore- grounding and at the same time denying the way sions of ‘Beauty and the Beast.’ ” 34:4, summer in which wartime death calls into question the 1995: 50-70. fundamental value system of American society. “Beauty and the Beast” tv (1987-1990) Antonioni, Michelangelo d Erb, Cynthia. “Another World or the World of an Other? The Space of Romance in Recent Ver- Barker, Jennifer M. “Bodily Irruptions: The sions of‘ Beauty and the Beast.’ ” 34:4, summer Corporeal Assault on Ethnographic Narration.” 1995: 50-70. 34:3, spring 1995: 57-76. Beauty and the Seast f (d Gary Trousdale Aronstein, Susan and Kirk Wise, 1991) Aronstein, Susan. “ “Not Exactly a Knight’: Arthu- Erb, Cynthia. “Another World or the World of rian Narrative and Recuperative Politics in the an Other? The Space of Romance in Recent Ver- Indiana Jones Trilogy.” 34:4, summer 1995: 3-30. sions of ‘Beauty and the Beast.’ ” 34:4, summer Consistent with the recuperative politics of 1995: 50-70. “Reaganite entertainment,” the Arthurian plots of the first two Indiana Jones films construct In- Bergman, Ingrid a diana as an American hero, redeeming the films’ McLean, Adrienne. “The Cinderella Princess American “court.” The political events of 1986 and the Instrument of Evil: Surveying the Lim- to 1987, however, cause the third film, a Grail its of Female Transgression in Two Postwar Hol- quest, to displace political with spiritual re- lywood Scandals.” 34:3, spring 1995: 36-56. demption. Book of Mary, The f (d Anne-Marie Avnet, Jon d Miéville, 1984) Holmlund, Chris. “Cruisin’ for a Bruisin’: Hol- Moore, Kevin Z. “Reincarnating the Radical: lywood’s Deadly (Lesbian) Dolls.” 34:1, fall Godard’s Je vous salue Marie.” 34:1, fall 1994: 1994: 31-51. 18-30. Barker, Jennifer M. Brill, Lesley Barker, Jennifer M. “Bodily Irruptions: The Brill, Lesley. “The Marriage of Fire and Water: Corporeal Assault on Ethnographic Narration.” Huston’s The African Queen.” 34:2, winter 34:3, spring 1995: 57-76. 1995: 3-21. The paper demonstrates that recognition of Uncomplicated compared to Huston’s other the body as a site of displacement and complex- films, The African Queen’s shots, themes, and ity within the ethnographic text and narrational dialogue, the rhythms of its editing and action, structure, as occurs in Antonioni’s Chung Kuo and its construction as a romantic adventure 96 Cinema Journal 34, No. 4, Summer 1995 Cinema Journal Annotated Index to Volume 34 Annotations indicate: a = actor/actress; 4 = director; f= film; m = musician; p = producer; $s = screenwriter; tv = teievision series African Queen, The f (1951, d John China, Rouch’s The Lionhunters, and Trinh Huston) Minh-hass work, opens up new planes across Brill, Lesley. “The Marriage of Fire and Water: which these systems can move, bend, and dis- Huston’s The African Queen.” 34:2, winter solve. 1995: 3-21. Basic Instinct f (1992, d Paul Verhoeven) Anderegg, Michael Holmlund, Chris. “Cruisin for a Bruisin’: Hol- Anderegg, Michael. “Home Front America and lywood’s Deadly (Lesbian) Dolls.” 34:1, fall the Denial of Death in MGM’s The Human 1994: 31-51. Comedy.” 34:1, fall 1994: 3-17. La Belle et la Béte f (d Jean Cocteau, The Human Comedy (MGM, 1943), a 1946) “home front” film of World War II, attempts to come to terms with the crucial issue of the Erb, Cynthia. “Another World or the World of an Other? The Space of Romance in Recent Ver- death of a loved one in wartime, at once fore- grounding and at the same time denying the way sions of ‘Beauty and the Beast.’ ” 34:4, summer in which wartime death calls into question the 1995: 50-70. fundamental value system of American society. “Beauty and the Beast” tv (1987-1990) Antonioni, Michelangelo d Erb, Cynthia. “Another World or the World of an Other? The Space of Romance in Recent Ver- Barker, Jennifer M. “Bodily Irruptions: The sions of‘ Beauty and the Beast.’ ” 34:4, summer Corporeal Assault on Ethnographic Narration.” 1995: 50-70. 34:3, spring 1995: 57-76. Beauty and the Seast f (d Gary Trousdale Aronstein, Susan and Kirk Wise, 1991) Aronstein, Susan. “ “Not Exactly a Knight’: Arthu- Erb, Cynthia. “Another World or the World of rian Narrative and Recuperative Politics in the an Other? The Space of Romance in Recent Ver- Indiana Jones Trilogy.” 34:4, summer 1995: 3-30. sions of ‘Beauty and the Beast.’ ” 34:4, summer Consistent with the recuperative politics of 1995: 50-70. “Reaganite entertainment,” the Arthurian plots of the first two Indiana Jones films construct In- Bergman, Ingrid a diana as an American hero, redeeming the films’ McLean, Adrienne. “The Cinderella Princess American “court.” The political events of 1986 and the Instrument of Evil: Surveying the Lim- to 1987, however, cause the third film, a Grail its of Female Transgression in Two Postwar Hol- quest, to displace political with spiritual re- lywood Scandals.” 34:3, spring 1995: 36-56. demption. Book of Mary, The f (d Anne-Marie Avnet, Jon d Miéville, 1984) Holmlund, Chris. “Cruisin’ for a Bruisin’: Hol- Moore, Kevin Z. “Reincarnating the Radical: lywood’s Deadly (Lesbian) Dolls.” 34:1, fall Godard’s Je vous salue Marie.” 34:1, fall 1994: 1994: 31-51. 18-30. Barker, Jennifer M. Brill, Lesley Barker, Jennifer M. “Bodily Irruptions: The Brill, Lesley. “The Marriage of Fire and Water: Corporeal Assault on Ethnographic Narration.” Huston’s The African Queen.” 34:2, winter 34:3, spring 1995: 57-76. 1995: 3-21. The paper demonstrates that recognition of Uncomplicated compared to Huston’s other the body as a site of displacement and complex- films, The African Queen’s shots, themes, and ity within the ethnographic text and narrational dialogue, the rhythms of its editing and action, structure, as occurs in Antonioni’s Chung Kuo and its construction as a romantic adventure 96 Cinema Journal 34, No. 4, Summer 1995 nonetheless remain typical of its director. It fers a conservative mapping of New York City’s serves as a useful lens for an auteurist gaze at high and low spaces. Largely due to creative in- Huston’s career. put from lyricist Howard Ashman, “B and B”/ Disney is one of the few progressive AIDS Brown, Clarence d allegories produced in Hollywood. Anderegg, Michael. “Home Front America and the Denial of Death in MGM's The Human Erice, Victor d Comedy.” 34:1, fall 1994: 3-17. Ehrlich, Linda. “Interior Gardens: Victor Erice’s Dream of Light and the Bodegén Tradi- Chung Kuo China f (d Michelangelo tion.” 34:2, winter 1995: 22-36. Antonioni, 1972) Barker, Jennifer M. “Bodily Irruptions: The Falkowska, Janina Corporeal Assault on Ethnographic Narration.” Falkowska, Janina. “ ‘Political’ in the Films of 34:3, spring 1995: 57-76. Polish Film Directors Andrzej Wajda and Kryzysztof Kieslowski.” 34:2, winter 1995: 37-50. Dream of Light f (d Victor Erice, 1992) This article attempts to define the concept Ehrlich, Linda. “Interior Gardens: Victor “political” in the interpretation of Wajda’s Man Erices Dream of Light and the Bodegén Tradi- of Iron and Kieslowski’s Without End and A tion.” 34:2, winter 1995: 22-36. Short Film about Killing. A short theoretical in- Ehrlich, Linda troduction on different uses of the term leads to a detailed analysis of the films, the conditions of Ehrlich, Linda. “Interior Gardens: Victor the films’ production, and the historical context Erice’s Dream of Light and the Bodegén Tradi- of the responses of official reviewers and general tion.” 34:2, winter 1995: 22-36. audiences. This essay examines the films of Spanish film director Victor Erice in relation to the Fried Green Tomatoes f (d Jon Avnet, Spanish still-life (bodegén) tradition. In particu- 1992) lar, the precision, the humility, and the tran- Holmlund, Chris. “Cruisin’ for a Bruisin’: Hol- scendental qualities of the bodegén are lywood’s Deadly (Lesbian) Dolls.” 34:1, fall compared to the same qualities in Erice’s third 1994: 31-51. film, Dream of Light (El sol del membrillo, 1992). Godard, Jean-Luc d In comparison to the theme of a child's Moore, Kevin Z. “Reincarnating the Radical: coming into knowledge in Erice’s two earlier Godard’s Je vous salue Marie.” 34:1, fall 1994: films (The Spirit of the Beehive [El espiritt de la 18-30. colmena, 1973] and El Sur [1983]), Dream of Light deals with the issues of maturation, aging, Hayworth, Rita a and decline. Dream of Light's examination of ar- McLean, Adrienne. “The Cinderella Princess tistic processes as mirrored in natural processes and the Instrument of Evil: Surveying the Lim- marks a new stage in Erice's oeuvre. its of Female Transgression in Two Postwar Hol- lywood Scandals.” 34:3, spring 1995: 36-56. Erb, Cynthia Erb, Cynthia. “Another World or the World of Holmiund, Chris an Other? The Space of Romance in Recent Ver- Holmlund, Chris. “Cruisin’ for a Bruisin’: Hol- sions of “Beauty and the Beast.’ ” 34:4, summer lywood’s Deadly (Lesbian) Dolls.” 34:1, fall 1995: 50-70. 1994: 31-51. Featuring a feminist exploration of film Fried Green Tomatoes and Basic Instinct space, the essay compares spatial mappings in belong to a cycle of “deadly doll” films wherein the television and Disney versions of “Beauty women who look like “lipstick lesbians” are and the Beast” (1987-1990 and 1991, respec- punished and/or they kill. Most critics and ac- tively). Both are postmodernist romances that tivists focused on young white female characters merge “real” and fantasy worlds, reformulating within these films, but their obsessions with romantic masculinity in the process. Successful sexuality, death, and dying mask a terror of ag- with female fans, “B and B’/TV nevertheless of- ing and racial difference and thereby miss an Cinema Journal 34, No. 4, Summer 1995 97 important observation: women’s rage is neces- tions associated with tavern TV, from the “alter- sarily caught up with race and age. native” youth viewing sites provided by reformers to the huge collectivities of sports The Human Comedy f (d Clarence fans inside the bar. These ways of viewing tele- Brown, 1943) vision, it argues, derive from an older lineage of Anderegg, Michael. “Home Front America and working-class amusements. As part of this dis- the Denial of Death in MGM’s The Human tinct history, the viewing context of the tavern Comedy.” 34:1, fall 1994: 3-17. expands our understanding of the social field Huston, John d surrounding the introduction of TV. Brill, Lesley. “The Marriage of Fire and Water: McLean, Adrienne Huston’s The African Queen.” 34:2, winter 1995: 3-21. McLean, Adrienne. “The Cinderella Princess and the Instrument of Evil: Surveying the Lim- Indiana Jones and the Last Crusade f its of Female Transgression in Two Postwar Hol- (d Steven Spielberg, 1989) lywood Scandals.” 34:3, spring 1995: 36-56. Aronstein, Susan. “ “Not Exactly a Knight: Arthu- This paper considers two famous star scan- rian Narrative and Recuperative Politics in the dals of the postwar years, the extramarital affairs Indiana Jones Trilogy.” 34:4, summer 1995: 3-30. of Rita Hayworth and Ingrid Bergman with, re- spectively, Aly Khan and Roberto Rossellini. Indiana Jones and the Temple of Despite several similarities in narrative fea- Doom f (d Steven Spielberg, 1984) tures, the affairs are generally agreed to have Aronstein, Susan. “ “Not Exactly a Knight’: Arthu- had differing effects on their participants’ ca- rian Narrative and Recuperative Politics in the reers: Bergman's career was “hurt,” Hayworth’s Indiana Jones Trilogy.” 34:4, summer 1995: 3-30. was “helped.” The apparent basis for this as- sumption is that Hayworth’s star image was al- Je vous salue Marie f (d Jean-Luc ready erotically charged and vampish, while Godard, 1984) Bergman's was domestic and even “saintly” and Moore, Kevin Z. “Reincarnating the Radical: therefore unable to accommodate her transgres- Godard’s Je vous salue Marie.” 34:1, fall 1994: sive sexual behavior. But by examining the way 18-30. common knowledge has been created discur- Kieslowski, Kryzysztof d sively and diachronically about each scandal, the primacy given to this notion can be revised. Falkowska, Janina. “ ‘Political’ in the Films of Polish Film Directors Andrzej Wajda and The author concludes that Bergman's career was Kryzysztof Keislowski.” 34:2, winter 1995: 37-50. not, in the end, harmed as much as Hayworth’s and that it was Hollywood's attempt to capitalize Lionhunters, The f (d Jean Rouch, on, rather than to minimize the effects of, both 1965) scandals that contributed the most to any “pub- Barker, Jennifer M. “Bodily Irruptions: The lic wrath” about the stars’ behavior and Holly- Corporeal Assault on Ethnographic Narration.” wood immorality generally. 34:3, spring 1995: 57-76. Miéville, Anne Marie d Man of Iron f (d Andrzej Wajda, 1980) Moore, Kevin Z. “Reincarnating the Radical: Falkowska, Janina. “ ‘Political’ in the Films of Godard’s Je vous salue Marie.” 34:1, fall 1994: Polish Film Directors Andrzej Wajda and 18-30. Kryzysztof Kieslowski.” 34:2, winter 1995: 37-50. McCarthy, Anna Minh-Ha, Trinh d McCarthy, Anna. “ “The Front Row Is Reserved Barker, Jennifer M. “Bodily Irruptions: The for Scotch Drinkers’: Early Television's Tavern Corporeal Assault on Ethnographic Narration.” Audience.” 34:4, summer 1995: 31-49. 34:3, spring 1995: 57-76. This essay examines the widespread instal- lation of TV sets in bars during the late forties. Moore, Kevin Z. It describes the spectrum of audience forma- Moore, Kevin Z. “Reincarnating the Radical: 98 Cinema Journal 34, No. 4, Summer 1995 Godard’s Je vous salue Marie.” 34:1, fall 1994: rian Narrative and Recuperative Politics in the 18-30. Indiana Jones Trilogy.” 34:4, summer 1995: 3-30. This article defines the rational interests in Spirit of the Beehive, The f (d Victor Godard’s Je vous salue Marie, which are central Erice, 1973) to any competent assessment of his work. By Ehrlich, Linda. “Interior Gardens: Victor analyzing the logic of the film, in effect describ- ing its enabling concepts, the author demon- Erice’s Dream of Light and the Bodegén Tradi- strates that rather than a divergence from tion.” 34:2, winter 1995: 22-36. Godard’s theory and practice, Je vous salue Sur, El f (d Victor Erice, 1983) Marie is exemplary of them. As such it is em- Ehrlich, Linda. “Interior Gardens: Victor blematic of the rationalist aesthetic that informs Erice’s Dream of Light and the Bodegén Tradi- his work as a whole. tion.” 34:2, winter 1995: 22-36. Raiders of the Lost Ark f (d Steven Trousdale, Gary d Spielberg, 1981) Erb, Cynthia. “Another World or the World of Aronstein, Susan. “ “Not Exactly a Knight’: Arthu- an Other? The Space of Romance in Recent Ver- rian Narrative and Recuperative Politics in the sions of ‘Beauty and the Beast.’ ” 34:4, summer Indiana Jones Trilogy.” 34:4, summer 1995: 3-30. 1995: 50-70. Rooney, Mickey a Verhoeven, Paul d Anderegg, Michael. “Home Front America and Holmlund, Chris. “Cruisin for a Bruisin’: Hol- the Denial of Death in MGM’s The Human lywood’s Deadly (Lesbian) Dolls.” 34:1, fall Comedy.” 34:1, fall 1994: 3-17. 1994: 31-51. Wajda, Andrzej d Rouch, Jean d Barker, Jennifer M. “Bodily Irruptions: The Falkowska, Janina. “ ‘Political’ in the Films of Corporeal Assault on Ethnographic Narration.” Polish Film Directors Andrzej Wajda and 34:3, spring 1995: 57-76. Kryzysztof Kieslowski.” 34:2, winter 1995: 37-50. Saroyan, William s Wasser, Frederick Anderegg, Michael. “Home Front America and Wasser, Frederick. “Four Wall Exhibition: Mar- the Denial of Death in MGM’s The Human ket Testing, Oppositional Filmmaking, and Comedy.” 34:1, fall 1994: 3-17. Sunn Classics.” 34:2, winter 1995: 51-65. Short Film about Killing, A f (d Four walling is a technique for self-distri- Kryzysztof Kieslowski, 1988) bution of a film. In the early seventies, Sunn Classics and other fourwallers achieved tremen- Falkowska, Janina. “ ‘Political’ in the Films of dous success, earning grosses that exceeded Polish Film Directors Andrzej Wajda and Hollywood's. Their locally produced films had Kryzysztof Kieslowski.” 34:2, winter 1995: 37-50. regional themes that recaptured a neglected Singer, Ben “heartland” audience. This is a history of an American alternative to Hollywood. Singer, Ben. “Manhattan Nickelodeons: New Data on Audiences and Exhibitors.” 34:3, Wise, Kirk d spring 1995: 5-35. Erb, Cynthia. “Another World or the World of This essay draws on a number of primary an Other? The Space of Romance in Recent Ver- sources to discern the location of early movie sions of ‘Beauty and the Beast.’ ” 34:4, summer theaters in Manhattan, the class and ethnic 1995: 50-70. identity of their audiences, the ethnic make-up of exhibitors, and the volatility of the nickel- Without End f (d Kryzysztof Kieslowski, odeon boom around 1907 to 1910. 1984) Falkowska, Janina. “ ‘Political’ in the Films of Spielberg, Steven d Polish Film Directors Andrzej Wajda and Aronstein, Susan. “ “Not Exactly a Knight: Arthu- Kryzysztof Kieslowski.” 34:2, winter 1995: 37-50. Cinema Journal 34, No. 4, Summer 1995 99