Cinema Journal 2000 - 2001: Vol 40 Index

9 Pages·1.9 MB·English

Cinema Journal Annotated Index to Volume 40
Annotations indicate: a = actor/actress; d = directorf; = film; m = musician; p = producer; s
= screenwriter; tv = television series
Automovil Gris, El (The Gray Automo- Camerini, Mario d
bile) f(d Enrique Rosa, 1919) Celli, Carlo. “The Legacy of Mario Camerini in
Lopez, Ana M. “Early Cinema and Modernity in Vittorio De Sica’s The Bicycle Thief (1948).” 40.4
Latin America.” 40.1 (fall 2000): 48-78. summer 2001): 3-17.
Avanti Popolo f(1986) Cameron, James d
Naaman, Dorit. “Orientalism as Alterity in Israeli von Dassanowsky, Robert. “A Mountain of aS hip:
Cinema.” 40.4 (summer 2001): 36-54. Locating the Bergfilm in James Cameron’s Ti-
tanic.” 40.4 (summer 2001): 18—35?.
Beijingers in New York (Beijingren zai
Niuyue) tv(1993) Celli, Carlo
Lu, Sheldon H. “Soap Opera in China: The Trans- Celli, Carlo. “The Legacy of Mario Camerini in
national Politics of Visuality, Sexuality, and Mascu- Vittorio De Sica’s The Bicycle Thief (1948).” 40.4
linity.” 40.1 (fall 2000): 25-47. summer 2001): 3-17.
Mario Camerini 1895-1981 was an Italian
Berliner, Todd
film director who directed Vittorio De Sica in
Berliner, Todd. “The Genre Film as Booby Trap: romantic comedies in the 1930s. The thematic
1970s Genre Bending and The French Connec- links between Camerini’s films starring De Sica
tion.” 40.3 (spring 2001): 25-46.
and De Sica’s later neorealist work, such as The
Genre-bending films rely on viewers’ habitual Bicycle Thief, reveal a continuity between pre-
responses to generic codes, misleading audiences war and postwar Italian cinema usually assumed
into expecting conventional outcomes. The to be lacking.
French Connection (1971) exploits spectators’ ex-
pectations of police-detective-film formulas and Cléo from 5 to 7 f(d Agnés Varda, 1961)
thereby catches viewers off-guard, creating a Mouton, Janice. “From Feminine Masquerade to
more unsettling experience than the genre tradi- Flaneuse: Agnés Varda’s Cléo in the City.” 40.2
tionally provides. winter 2001): 3-16.
Beyond the Walls f (1983) Chan, Jackie a
Naaman, Dorit. “Orientalism as Alterity in Israeli Williams, Tony. ““Under Western Eyes’: The Per-
Cinema.” 40.4 (summer 2001): 36-54 sonal Odyssey of Huang Fei-Hong in Once upon
a Time in China.” 40.1 (fall 2000): 3-24
Bicycle Thief, The f(dVittorio De Sica, 1948)
Channing, Stockard a
Celli, Carlo. “The Legacy of Mario Camerini in
Vittorio De Sica’s The Bicycle Thief (1948).” 40.4 Gillan, Jennifer L. “No One Knows You're Black!’
summer 2001): 3-17 Six Degrees of Separation and the Buddy For-
mula.” 40.3 (spring 2001): 47-68.
Black Narcissus f( d Michael Powell and
Emeric Pressburger, 1947) Corbett, Kevin J.
Jaikumar, Priya. “‘Place’ and the Modernist Re- Corbett, Kevin J. “The Big Picture: Theatrical
demption of Empire in Black Narcissus (1947 Moviegoing, Digital Television, and Beyond the
40.2 (winter 2001): 57-77. Substitution Effect.” 40.2 (winter 2001): 17-34.
This article traces the cultural history of the
Blue Light, The. f(dLeni Riefenstahl, 1932) movie theater, revealing that both cultural forces
von Dassanowsky, Robert. “A Mountain of a Ship: and industrial imperatives are likely to preserve the
Locating the Bergfilm in James Cameron's Ti- theater, despite the threat that it will be “substi-
tanic.” 40.4 (summer 2001): 18-35. tuted for” by digital television, with its promise of
filmlike screen size and picture/sound quality.
Bronston, Samuel p
Jancovich, Mark. “‘The Purest Knight of All’: Na- Davis, Darrell William
tion, History, and Representation in El Cid (1960).” Davis, Darrell William. “Reigniting Japanese Tra-
40.1 (fall 2000): 79-103. dition with Hana-Bi.” 40.4 (summer 2001): 55-80.
124
Cinema Journal 40, No. 4, Summer 2001
Cinema Journal Annotated Index to Volume 40
Annotations indicate: a = actor/actress; d = directorf; = film; m = musician; p = producer; s
= screenwriter; tv = television series
Automovil Gris, El (The Gray Automo- Camerini, Mario d
bile) f(d Enrique Rosa, 1919) Celli, Carlo. “The Legacy of Mario Camerini in
Lopez, Ana M. “Early Cinema and Modernity in Vittorio De Sica’s The Bicycle Thief (1948).” 40.4
Latin America.” 40.1 (fall 2000): 48-78. summer 2001): 3-17.
Avanti Popolo f(1986) Cameron, James d
Naaman, Dorit. “Orientalism as Alterity in Israeli von Dassanowsky, Robert. “A Mountain of aS hip:
Cinema.” 40.4 (summer 2001): 36-54. Locating the Bergfilm in James Cameron’s Ti-
tanic.” 40.4 (summer 2001): 18—35?.
Beijingers in New York (Beijingren zai
Niuyue) tv(1993) Celli, Carlo
Lu, Sheldon H. “Soap Opera in China: The Trans- Celli, Carlo. “The Legacy of Mario Camerini in
national Politics of Visuality, Sexuality, and Mascu- Vittorio De Sica’s The Bicycle Thief (1948).” 40.4
linity.” 40.1 (fall 2000): 25-47. summer 2001): 3-17.
Mario Camerini 1895-1981 was an Italian
Berliner, Todd
film director who directed Vittorio De Sica in
Berliner, Todd. “The Genre Film as Booby Trap: romantic comedies in the 1930s. The thematic
1970s Genre Bending and The French Connec- links between Camerini’s films starring De Sica
tion.” 40.3 (spring 2001): 25-46.
and De Sica’s later neorealist work, such as The
Genre-bending films rely on viewers’ habitual Bicycle Thief, reveal a continuity between pre-
responses to generic codes, misleading audiences war and postwar Italian cinema usually assumed
into expecting conventional outcomes. The to be lacking.
French Connection (1971) exploits spectators’ ex-
pectations of police-detective-film formulas and Cléo from 5 to 7 f(d Agnés Varda, 1961)
thereby catches viewers off-guard, creating a Mouton, Janice. “From Feminine Masquerade to
more unsettling experience than the genre tradi- Flaneuse: Agnés Varda’s Cléo in the City.” 40.2
tionally provides. winter 2001): 3-16.
Beyond the Walls f (1983) Chan, Jackie a
Naaman, Dorit. “Orientalism as Alterity in Israeli Williams, Tony. ““Under Western Eyes’: The Per-
Cinema.” 40.4 (summer 2001): 36-54 sonal Odyssey of Huang Fei-Hong in Once upon
a Time in China.” 40.1 (fall 2000): 3-24
Bicycle Thief, The f(dVittorio De Sica, 1948)
Channing, Stockard a
Celli, Carlo. “The Legacy of Mario Camerini in
Vittorio De Sica’s The Bicycle Thief (1948).” 40.4 Gillan, Jennifer L. “No One Knows You're Black!’
summer 2001): 3-17 Six Degrees of Separation and the Buddy For-
mula.” 40.3 (spring 2001): 47-68.
Black Narcissus f( d Michael Powell and
Emeric Pressburger, 1947) Corbett, Kevin J.
Jaikumar, Priya. “‘Place’ and the Modernist Re- Corbett, Kevin J. “The Big Picture: Theatrical
demption of Empire in Black Narcissus (1947 Moviegoing, Digital Television, and Beyond the
40.2 (winter 2001): 57-77. Substitution Effect.” 40.2 (winter 2001): 17-34.
This article traces the cultural history of the
Blue Light, The. f(dLeni Riefenstahl, 1932) movie theater, revealing that both cultural forces
von Dassanowsky, Robert. “A Mountain of a Ship: and industrial imperatives are likely to preserve the
Locating the Bergfilm in James Cameron's Ti- theater, despite the threat that it will be “substi-
tanic.” 40.4 (summer 2001): 18-35. tuted for” by digital television, with its promise of
filmlike screen size and picture/sound quality.
Bronston, Samuel p
Jancovich, Mark. “‘The Purest Knight of All’: Na- Davis, Darrell William
tion, History, and Representation in El Cid (1960).” Davis, Darrell William. “Reigniting Japanese Tra-
40.1 (fall 2000): 79-103. dition with Hana-Bi.” 40.4 (summer 2001): 55-80.
124
Cinema Journal 40, No. 4, Summer 2001
This article interrogates Kitano Beat” Friedkin, William d
Takeshi’s Hana-Bi Fireworks, 1997) for its ap- Berliner, Todd. “The Genre Film as Booby Trap
propriation of traditional Japanese iconography 1970s Genre Bending and The French Connec-
and its insertion into a global marketplace for tion.” 40.3 (spring 2001): 25-46
Asian auteur-gangster films
French Connection, The f (d William
De Sica, Vittorio a, d Friedkin, 1971)
Celli, Carlo. “The Legacy of Mario Camerini in Berliner, Todd. “The Genre Film as Booby T rap
Vittorio De Sica’s The Bic yc le Thief (1948).” 40.4 1970s Genre Bending and The French Connec-
summer 2001): 3-17 tion.” 40.3 (spring 2001): 25—46
Dragon City’s Exterminating Tyrant Germany in Autumn f( d Rainer Werner
(Wong Fei-Hung Ji Ng Lung Sing Chin Fassbinder, Alexander Kluge, Volker Schi6ndorf,
Ba) (1994) and others, 1978)
Williams, Tony. ““Under Western Eyes’: The Per. Hoerschelman, Olaf. ““Memoria Dextera Est Film
sonal Odyssey of Huang Fei-Hong in Once upon and Public Memory in Postwar Germany.” 40.2
1 Time in China.” 40.1 fall 2000): 3-24 winter 2001 78-97
Dreams f(d Akira Kurosawa, 1990) Gillan, Jennifer L.
Serper Zvika. “Kurosawa’s Dreams: A Cinematic Gillan, Jennifer L. “No One Knows You're Black!
Reflection of a Traditional Japanese Context. Six Degrees of Separation and the Buddy For-
40.4 (summer 2001): 81-104 mula 40.3 (spring 2001 17-68
Fred Schepisi’s Six Degrees »f Separation
El Cid f(d Anthony Mann, 1960) 1993 is an art-house film that pllaiy s with the
Jancovich, Mark. “The Purest Knight of All’ buddy film formula, highlighting its inconsisten-
Nation, History, and Representation in El Cid cies and its contrived resolutions of complex is
1960 40.1 (fall 2000): 79-103 sues surrounding racial and sexual anxieties and
Fagelson, William Friedman lookl ing r. elations
Fagelson, William Friedman. “Fighting Films Great Misfortunes f (1976)
The Evervday Tactic s of World War II Soldiers Naaman, Dorit Orientalism as Alterity in Israeli
$0.3 spring 2001] 94-112 Cinema 40.4 summer 2001): 36-54
American soldiers watching movies near the
front lines during World War II talked back to Greenaway, Peter d
| 1
the screen, interacting wit! 1 the texts and with Tweedie James ( iliban’s Books The Hybrid
eac h othe I Text in Peter Greenaway's Prospero’s Books.” 40.1
fall 2000): 104-26
Fanck, Arnold d
von Dassanowsky, Robert. “A Mountaino f a Ship Guilgud, John a
Locating the Bergfi ] 1 in 1J ames Cameron’s Ti- [weedie James ( aliban
tant 40.4 (summe r 2001): 1S—35 Text in Peter Gree naway s Prospero’s
fall 2000): 104—26
Fassbinder, Werner Rainer d
Hoerschelman Olat Memoria Dextera Est Hackman, Gene 2
Film and Public Memory in Postwar Germany Berliner, Todd. “The Genre Film as Booby Trap
40.2 (winter 2001 78-97 1970s Genre Bending ind The French Connec-
tion.” 40.3 (spring 2001): 25-46
Fictitious Marriage f (dChaim Buzaglo, 1989)
Naaman, Dorit Orientalism as Al1 terity in Israeli Half a Million Black f (1977)
Cinema. 40.4 summer 2001): 36-54 Naaman, Dorit. “Orientalism as Alte rity in Israeli
Cinema.” 40.4 (summer 2001): 36-54
Foreign Babes in Beijing (Yangniu zai
Beijing) tv(dWang Binglin and Li Jianxin, 1996) Hani-Bi (Fireworks) f(dKitano Takeshi, 1997)
Lu, Sheldon H. “Soap Opera in China: The Trans Davis Darrell William Reigniting Japanese
national Politics of Visuality, Sexuality, and Mas- Tradition with Hana-Bi.” 40.4 summer 2001
culinity.” 40.1] fall 2000): 25-47 39-80
125
Cinema Journal 40, No. 4, Summer 2001
Hansin f(1982) An imperial narrative’s coherence is predi-
Naaman, Dorit. “Orientalism as Alterity in Israeli cated upon the continuation of the colonial place
Cinema.” 40.4 (summer 2001): 36-54. as a backdrop. In Michael Powell and Emeric
Pressburger’s Black Narcissus (1947), the Hima-
Hark, Tsui p, d
layan “Mopu” is made central enough to impede
Williams, Tony. “Under Western Eyes’: The Per- assumptions projected onto it. However, the
sonal Odyssey of Huang Fei-Hong in Once upon threat of narrative collapse is averted by a visibly
a Time in China.” 40.1 (fall 2000): 3-24. modernist preoccupation with the (imperial) self
Hauff, Reinhard d and the film’s redemptive thematics.
Hoerschelman, Olaf. ““Memoria Dextera Est’: Jancovich, Mark
Film and Public Memory in Postwar Germany.” Jancovich, Mark. “The Purest Knight of All’
40.2 (winter 2001): 78-97. Nation, History, and Representation in El Cid
1960).” 40.1 (fall 2000): 79-103
Henry & June f(d Philip Kaufman, 1990)
This article examines the Samuel Bronston
Sandler, Kevin S. “The Naked Truth: Showgirls
productofi Eol nCi d (1960) and analytzhee psro -
and the Fatofe t he X/NC-17 Rating.” 40.3 (spring
cess of cultural hybridization through which vari-
2001): 69-93.
ous myths of the Spanish national hero are
Heston, Charlton a stitched together and, in the process, reinter-
Jancovich, Mark. “The Purest Knight of All’: preted to produce an epic movie for an interna-
Nation, History, and Representation in El Cid tional market.
1960).” 40.1 (fall 2000): 79-103.
Kaufman, Philip d
Hoerschelman, Olaf Sandler, Kevin S. “The Naked Truth: Showgirls
Hoerschelman, Olaf. ““Memoria Dextera Est’: and the Fate of the X/NC-17 Rating.” 40.3 (spring
Film and Public Memory in Postwar Germany.” 2001): 69-93
40.2 (winter 2001): 78-97.
Kiuge, Alexander d
This article investigates the struggles over pub-
Hoerschelman, Olaf. “‘“Memoria Dextera Est’:
lic memory in postwar Germany. The representa-
Film and Public Memory in Postwar Germany.”
tion of the Red Army Fraction (RAF) terrorist
40).2 (winter 2001): 78-97.
movement indicates the power of official memory.
However, examples from the New German Cin- Kurosawa, Akira d
ema demonstrate that the creation of counter- Serper, Zvika. “Kurosawa’s Dreams: A Cinematic
memories remained possible even at the peak of Reflection of a Traditional Japanese Context.”
terrorism in the “German Autumn” of 1977. 10.4 (summer 2001): 81-103.
Holy MountainT,he f(d Arnold Fanck, 1926) Lian-jie, Jet Li a
von Dassanowsky, Robert. “A Mountain of a Ship: Williams, Tony. “Under Western Eyes’: The Per-
Locating the Bergfilm in James Cameron's Ti- sonal Odyssey of Huang Fei-Hong in Once upon
tanic.” 40.4 (summer 2001): 18-35.
a Time in China.” 40.1 (fall 2000): 3-24.
Huang Fei-Hung Ji Sei (Once upon a Lopez, Ana M.
Time in China, Part 4) f(p Tsui Hark, 1993)
Lopez, Ana M. “Early Cinema and Modernity in
Williams, Tony. “Under Western Eyes’: The Per- Latin America.” 40.1 (fall 2000): 48-78.
sonal Odyssey of Huang Fei-Hong in Once upon This article traces the introduction and de-
a Time in China.” 40.1 (fall 2000): 3-24. velopment of the cinema in Latin America, ex-
Jackson, Michael m, a ploring the complex global interactions and
transformational experiments that marked the
Mittell, Jason. “A Cultural Approach to Televi-
diffusion of the medium in the context of inter-
sion Genre Theory.” 40.3 (spring 2001): 3-24.
national trends as well as in relationship to the
Jaikumar, Priya continent's incipient modernity. The essay’s com-
Jaikumar, Priya. “‘Place’ and the Modernist Re- parative framework points to new patterns and
demption of Empire in Black Narcissus (1947).” observations that exceed the boundaries of dis-
40.2 (winter 2001): 57-77. crete national histories.
126
Cinema Journal 40, No. 4, Summer 2001
Loren, Sophia a Marriage of Maria Braun, The f(d Rainer
Jancovich, Mark. “‘The Purest Knight of All’: Wemer Fassbinder, 1978)
Nation, History, and Representation in El Cid Hoerschelman Olaf. ““Memoria Dextera Est
1960 40.1 (fall 2000): 79-103 Film and Public Memory in Postwar Germany
10.2 (winter 2001 78-97
Lost Honor of Katharina Blum, The f(d
Volker Schléndorf and Margarethe von Trotta, Marianne and Juliane f(dMargarethe von
1975) Trotta, 1981)
Hoerschelman, Olaf. “‘Memoria Dextera Est Hoerschelman, Olaf. ““Memoria Dextera Est
Film and Public Memory in Postwar Germany.” Film and Public Memory in Postwar Germany.”
4().2 (winter 2001 18-97 10).2 winter 2001): 78—97
Lu, Sheldon H. Mieko, Harada a
Lu, Sheldon H Soap Opera in China: The Serper. Zvika. “Kurosawa’s Dreams: A Cinematic
Transnational Politics of Visuality, Sexuality, and Reflection of a Traditional Japanese Context
Masculinity.” 40.1 (fall 2000): 25-47 40.4 (summer 2001): 51-103
This essay examines Chinese television drama
Mittell, Jason
in the 1990s. It focuses on sOap operas involving
Mittell, Jason. “A Cultural Approach to Televi-
transnational romances between Chinese men
and Russian and American women. The construc- sion Genre Theory 40.3 (spring 2001): 3-24
tion of Chinese masculinity through the foreign This essay argues that genres are cultural cat-
egories that surpass the boundarieso f media texts
woman has bec ome a new way Ot + imagining na-
tional identity in the age of globalization ind operate within industry, audience, and cul-
tural practices as well. Offering a television-spe-
Light, The (La Luz) f(d Ezequiel Carrasco, cific approach, the article explores media genres
1917) by incorporating contemporary cultural theory
Ld6pez, Ana M Early Cinema and Modernity in and exemplifying its discursive approach with a
Latin America 40.1 (fall 2000): 48-78 brief case study
Lion King Struggle for Supremacy Mouton, Janice
(Wong Fei-Hung Ji Saam) f(1993) Mouton, Janice. “From Feminine Masquerade to
Williams, Tony Under Western Eyes The Per- Flaneuse: Agnés Varda’s Cléo in the City.” 40.2
sonal Odyssey of Huang Fei-Hong in Once upon winter 2001): 3-16
a Time in China.” 40.1 (fall 2000): 3-24 In Agnés Varda’s Cleo from 5t o 7 (1961), the
protagonist's transtormation trom feminine mas-
Machorka-Muff f(d Jean-Marie Straub, 1963)
querade to flaneuse occurs as a result of her in-
Hoerschelman Olaf. ““Memoria Dextera Est volvement with ac ity, specifically Paris. Positing
Film and Public Memory in Postwar Germany.
the possibility of a female flanerie, this essay es-
4().2 (winter 2001): 78-97 tablishes a connection between Agnes Varda and
Man Should Be Self-Sufficient (Wong the writers George Sand and Virginia Woolf
Fei-Hung JiYi) f(1992) thereby showing how a woman walk1e r i flan-
euse—lays claim to subjectivity
Williams Tony “Under Western Eyes’ The Per-
sonal Odyssey of Huang Fei-Hong in Once upon Naaman, Dorit
a Time in China.” 40.1 (fall 2000): 3-24. Naaman, Dorit. “Orientalism as Alterity in Israeli
Mann, Anthony d Cinema $0).4 summer 200] ): 36-54
This article deals with the representation of
Jancovich, Mark. ““‘The Purest Knight of All
Middle Eastern Jews and Palestinians in the Is
Nation, History, and Representation in El Cid
1960).” 40.1 (fall 2000): 79-103 raeli cinema of the 1970s and 1980s specifically
the phenomenon of “passing,” whereby ethnicity
Marchand, Corinne a and race are interchangeable in casting and plot
Mouton, Janice. “From Feminine Masquerade to Such passing can empower Middle Eastern Jews
Flaneuse: Agnés Varda’s Cléo in the City.” 40.2 to deconesthntic rstuerecotytpes , while excluding
winter 2001): 3-16 Palestinians from participating in public discourse
127
Cinema Journal 40, No. 4, Summer 2001
Nasty Girl, The f(d Michael Verhoeven, 1989) tween the uniqueness of the feature and the stan-
Hoerschelman, Olaf. “‘Memoria Dextera Est’: dardization fostered by the short-subject program.
Film and Public Memory in Postwar Germany.”
Ran f(dAkira Kurosawa, 1985)
40.2 (winter 2001): 78-97.
Serper, Zvika. “Kurosawa’s Dreams: A Cinematic
Not Reconciled f(d Jean-Marie Straub and Reflection of a Traditional Japanese Context.”
Danidle Hullet, 1965)
40.4 (summer 2001): 81-103.
Hoerschelman, Olaf. “Memoria Dextera Est’:
Riefenstahl, Leni d
Film and Public <[H>Memory in Postwar Ger-
von Dassanowsky, Robert. “A Mountain ofa Ship:
many.” 40.2 (winter 2001): 78-97.
Locating the Bergfilm in James Cameron's Ti-
Once upon aTime in Chinfa( p Tsui Hark, tanic.” 40.4 (summer 2001): 18-35.
1991)
Russian Girls in Harbin (Eluosi gunnian
Williams, Tony. “Under Western Eyes’: The Per- zai Harbin) tv(dSun Sha, 1994)
sonal Odyssey of Huang Fei-Hong in Once upon
Lu, Sheldon H. “Soap Opera in China: The
a Time in China.” 40.1 (fall 2000): 3-24.
Transnational Politics of Visuality, Sexuality, and
Once upon aTime in China and America Masculinity.” 40.1 (fall 2000): 25-47.
f(dSaHumngm, 1o99 7)
Sallah Shabatti f(d, s Efraim Kishon, 1964)
Williams, Tony. “Under Western Eyes’: The Per-
Naaman, Dorit. “Orientalism as Alterity in Israeli
sonal Odyssey of Huang Fei-Hong in Once upon
Cinema.” 40.4 (summer 2001): 36-54.
a Time in China.” 40.1 (fall 2000); 3-24.
Sandler, Kevin S.
Padilla, Emma a Sandler, Kevin S. “The Naked Truth: Showgirls
Lopez, Ana M. “Early Cinema and Modernity in and the Fatofe t he X/NC-17 Rating.” 40.3 (spring
Latin America.” 40.1 (fall 2000): 48-78. 2001): 69-93.
In 1990, the Motion Picture Association of
Poitier, Sidney a
America (MPAA replaced the X rating with the
Gillan, Jennifer L. ““No One Knows You're NC-17 category— No Children 17 and under Ad-
Black!’: Six Degrees ofS eparation and the Buddy mitted. The new designation took effect imme-
Formula.” 40.3 spring 2001): 47-68. diately and was copyrighted so that adult
filmmakers—who appropriated the X for pornog-
Powell, Michael, and Pressburger,
raphy in 1968—could no longer unilaterally ap-
Emeric d
ply it to their films. MGM/UA’s Henry & June
Jaikumar, Priya. “‘Place’ and the Modernist Re-
became the first major studio film to receive the
demption of Empire in Black Narcissus (1947).”
outermost rating since 1979. The NC-17’s imme-
40.2 (winter 2001): 57-77.
diate inheritance of the veneer of the X rating,
and the subsequent box-office failure of Showgirls
Prospero’s Books f(d Peter Greenaway,
1995), reaffirmed the economic liability of the
1991)
rating system’s adults-only category
Tweedie, James. “Caliban’s Books: The Hybrid
Text in Peter Greenaway’s Prospero's Box ks.” 40.1 Schepisi, Fred d
fall 2000): 104-26. Gillan, Jennifer L. “‘No One Knows You're
Black!’: Six Degrees of Separation and the Buddy
Quinn, Michael
Formula.” 40.3 (spring 2001): 47-68
Quinn, Michael. “Distribution, the Transient
Audience, and the Transition to the Feature Schlondorf, Volker d
Film.” 40.2 (winter 2001): 35-56.
Hoerschelman, Olaf. “‘Memoria Dextera Est’:
This historical essay argues that early feature- Film and Public Memory in Postwar Germany.”
length films were not simply a new production 4().2 (winter 2001): 78-97.
trend; they represented a series of developments
in distribution and exhibition based on differen- Serper, Zvika
tiation. Indeed, the American film industry of the Serper, Zvika. “Kurosawa’s Dreams: A Cinematic
early 1910s followed several competing models Reflection of a Traditional Japanese Context.”
of distribution in an effort to differentiate be- 40.4 (summer 2001): 81-103.
128
Cinema Journal 40, No. 4, Summer 2001
The structure, content, means of expression, Titanic f(dJames Cameron, 1998)
philosophical thought, and images in Kurosawa’s von Dassanowsky, Robert. “A Mountain of a Ship:
Dreams (1990) offer an unconscious reflection Locating the Bergfilm in James Cameron’s Ti-
of the traditional aristocratic n6 theatre in par- tanic.” 40.4 (summer 2001): 18-35
ticular, as well as of other Japanese folklore and
Trotta, Margarethe von d
aesthetics
Hoerschelman, Olaf “Memoria Dextera Est
Showgirls f(d Paul Verhoeven, 1995) Film and Public Memory in Postwar Germany.”
Sandler, Kevin S. “The Naked Truth: Showgirls 40.2 (winter 2001): 78—97
and the Fateo ft he X/NC-17 Rating.” 40.3 (spring
Tweedie, James
2001): 69-93
Tweedie, James ‘Caliban’s Books: The Hybrid
Six Degrees of Separation f (d Fred Text in Peter Greenaway’s Prospero’s Books.” 40.1
Schepisi, 1993)
fall 2000): 104-26
Gillan, Jennifer L. “No One Knows You're Black!’ This essay discusses Peter Greenaway’s Pros-
Six Degrees of Separation and the Buddy For- peros Books as an allegory of the adaptation of
mula.’ 10.3 (spring 2001): 47-68 canonical literature to cinema, with The Ti mpest’s
colonial concerns refigured as a confrontation be-
Smith, Will a
tween a “masterful” original and an “unfaithful”
Gillan, Jennifer L No One Knows You're Black!’ follower. The essay then situates the film’s medi-
Six Degrees of Separation and the Buddy For- tation on the literary artifact and neobaroque aes-
mula 10.3 spring 2001 17-68 thetics in opposition to the discourses of heritage
S.0.S. Iceberg f(d Arnold Fanck, 1933)) circulating in Thatcherite Britain
von Dassanowsky, Robert. “A Mountaino f a Ship: Varda, Agnes d
Locating the Bergfilm in James Cameron’s Ti- Mouton Janice. “From Feminine Masquerade
tanic.” 40.4 (summer 2001): 18-35 to Flaneuse: Agnés VardClaéo ’ins th e City.” 40.2
Stammheim: The Baader-Meinhof winter 2001): 3-16
Group on Trial f(d Reinhard Hauff, 1986) Verhoeven, Michael d
Hoerschelman, Olaf. ““Memoria Dextera Est
Hoerschelman Olaf Memoria Dextera Est
Film and Public Memory in Postwar Germany.” Film and Public Memory in Postwar Germany
40).2 (winter 2001): 78-97 10.2 winter 2001): 78-97
S19t0o6r) ms over Mount Blanc f(d Arnold Fanck, Verhoeven, Paul d
Sandler, Kevin S. “The Naked Truth: Showgirls
von Dassanowsky, Robert. “A Mountain of a Ship and the Fate of the X/NC-17 Rating 10.3 (s| pringg
Locating the Bergfilm in James Cameron’s Ti-
2001): 69-93
tanic.” 40.4 (summer 2001): 18—35
von Dassanowsky, Robert
Straub, Jean-Marie d von Dassanowsky, Robert. “A Mountain of a Ship
Hoerschelman, Olaf. “‘“Memoria Dextera Est Locating the Bergfilm in James Cameron’s Ti-
Film and Public Memory in Postwar Germany.” tanic.” 40.4 (summer 2001): 18-35
4().2 winter 2001): 78-97. An examination of James Cameron's Titanic
Sutherland, Donald a 1997) reveals its structural and narrative roots
in the German Bergfilm genre and strong rela
Gillan, Jennifer L. “No One Knows You're Black!
tionship to Leni Riefenstahl’s Tiefland (1945
Six Degrees of Separation and the Buddy For-
1954). The popular appeal of Titanic’s Bergfilm
mula.” 40.3 (spring 2001): 47-68
message suggests gender role-repression and a
Takeshi, Kitano d, s, a postmode rm Americ an correspondence to the so-
Davis, Darrell William Reigniting Japanese Tra- cial conditions of Weimar Germany
dition with Hana-bi.” 40.4 (summer 2001 ):56-72
White Hell of Piz Palu, The f (d Arnold
Tiefland f(dLeni Riefenstahl, 1945-1954) Fanck, 1929)
von Dassanowsky, Robert. “A Mountaino f a Ship: von Dassanowsky, Robert. “A Mountain of a Ship:
Locating the Bergfilm in James Cameron’s Ti- Locating the Bergfilm in James Cameron's Ti-
tanic.” 40.4 (summer 2001): 18-35. tanic.” 40.4 (summer 2001): 1S—35
129
Cinema Journal 40, No. 4, Summer 2001
Wild Kiss to Russia, A (Kuang wen Woo-Ping, Yuen d
Eluosi) tv(d Xu Qingdong, 1995) Williams, Tony. “Under Western Eyes’: The Per-
Lu, Sheldon H. “Soap Opera in China: The Trans- sonal Odyssey of Huang Fei-Hong in Once upon
national Politics of Visuality, Sexuality, and Mas- a Time in China.” 40.1 (fall 2000): 3-24.
culinity.” 40.1 (fall 2000): 25-47. Yearnings (Kewang) tv(d Zheng Xiaolong,
1990-1998)
Williams, Tony
Lu, Sheldon H. “Soap Opera in China: The Trans-
Williams, Tony. “Under Western Eyes’: The Per- national Politics of Visuality, Sexuality, and Mas-
sonal Odyssey of Huang Fei-Hong in Once upon culinity.” 40.1 (fall 2000): 25-47.
a Time in China.” 40.1 (fall 2000): 3-24
Yu, Wang a
Rather than being read in exclusively post-
Williams, Tony. “Under Western Eyes’: The Per-
modernist terms, Tsui Hark’s series Once upon a
sonal Odyssey of Huang Fei-Hong in Once upon
Time in China may be understood as a new ver-
sion of aH ong Kong cinematic discourse involv- a Time in China.” 40.1 (fall 2000): 3-24.
ing historical “interflow.” It deals with dispersion, Zavattini, Cesare s
China’s relationship to the outside world, and stra- Celli, Carlo. “The Legacy of Mario Camerini in
tegic forms of reintegration designed to Vittorio De Sica’s The Bicycle Thief (1948).” 40.4
strengthen national identity. summer 2001): 3-17.
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Cinema Journal 40, No. 4, Summer 2001