Table Of Content

Although officially categorized as “mili- Fujiki, Hideaki. “Benshi as Stars: The Irony tary enlightenment” and “anticommunist” of the Popularily and Respectability of Voice by the Park Chung Hee regime, the war Performers in Japanese Cinema.” 45.2 (win- films directed by Yi Man-Hti (Lee Man- ter 2006): 68-84. hee)—one of the most important auteurs This essay examines the complex history in South Korea’s cinematic Golden Age of of the benshi’s stardom in terms of their per- the 1960s—transcend formulaic genre con- formance, position in the film industry, and straints and deserve special attention for their social status. While their institutionalization humanistic approach to the Korean War. helped some benshi gain respectability and popularity, it also served to endorse their “vul- Edwards, Kyle Dawson. “Brand-Name garity,” localize their stardom, and ultimately Literature: Film Adaptation and Selznick make them replaceable by talkies. International Pictures’ Rebecca.” 45.3 (spring 2006): 32-58. Galt, Rosalind. “Back Projection: Visual- Using the 1940 film Rebecca, this article izing Past and Present Europe in Zentropa.” explores the strategies of literary acquisition 45.1 (fall 2005): 3-21. and film adaptation employed by Selznick This article analyzes Lars von Trier’s International Pictures in the late 1930s and film Zentropa (1991), arguing that it uses early 1940s. Key here is the argument that cinematic space to articulate Europe's the adaptation and marketing of Rebecca historical and geopolitical spaces. Of par- is consistent with a branding strategy that ticular interest are the film’s intertextuality, the independent studio instituted to offset its layering of superimposed images, and industrial disadvantages. the relationships that it suggests exist between East and West, postwar and post-Wall, Erb, Cynthia. “Have You Ever Seen the Germany and Europe. Inside of One of Those Places?’: Psycho, Foucault, and the Postwar Context of Mad- Harlow, Jacqueline. See Fisher, William. ness.” 45.4 (summer 2006): 45-63. Hartley, John. “Is Screen Studies a Load of This essay situates Alfred Hitchcock's Old Cobblers? And IfS o, Is That Good?” In Psycho and Michel Foucault's Madness and Focus: The Place of Television Studies. 45.1 Civilization within the postwar context of (fall 2005): 101-106. deinstitutionalization, as well as a modernist tradition of overvaluing madness known as Hendershot, Heather, ed. In Focus: The schizophilia. Although Hitchcock and Fou- Death of 16mm? 45.3 (spring 2006): 109- cault participated in the tradition of schizo- 140. philia, their appeals to both history and the Hendershot, Heather. “Of Ghosts and avant-garde enabled them to produce works Machines: An Interview with Zoe Beloff.” that broke with traditional ways of conceiving In Focus: The Death of 16mm? 45.3 (spring madness. 2006): 130-140. Fisher, William and Jacqueline Harlow. Hilmes, Michele. “The Bad Object: Televi- “Film and Media Studies and the Law of the sion in the American Academy.” In Focus: DVD.” In Focus: The Death of 16mm? 45.3 The Place of Television Studies. 45.1 (fall (spring 2006): 118-124. 2005): 111-116. Frey, Mattias. “No(ir) Place to Go: Spatial Horak, Jan-Christopher. “Archiving, Pre- Anxiety and Sartorial Intertexuality in Die serving, Screening 16mm.” In Focus: The Unberiihrbare.” 45.4 (summer 2006): 64-S0. Death of 16mm? 45.3 (spring 2006): 112-118. Premieringa t the height of the global neo- noir craze, Oskar Roehler’s Die Unberiihr- Keating, Patrick. “From the Portrait to the bare is willfully out of the past. It renegotiates Close-Up: Gender and Technology in Still the classic noir’s preoccupation with space Photography and Hollywood Cinematogra- and material culture, dramatizing millen- phy.” 46.3 (spring 2006): 90-108. nial German spatial anxiety and redressing During the second two decades of the twen- Ostalgie films’ commodity fetishism. tieth century, Hollywood cinematographers 149 Cinema Journal 45, No. 4, Summer 2006 drew on the conventions of portrait photog- tialist approach to sexual identification, camp raphy to develop their own figure-lighting subculture, and the economy of sissyness and strategies. Although the two practices relied body politics with Hans Christian Andersen’s on different kinds of technology, cinematog- tragic story “The Little Mermaid” and with raphers retained the larger strategy of struc- Tim Burton’s romantic fantasy Edward turing their stylistic techniques according to Scissorhands (1990). a logic of sexual difference. Rivera, José. “Split Personality: Random Keller, Alexandra, and Frazer Ward. Thoughts on Writing for Theater and Film.” “Matthew Barney and the Paradox of the In Focus: Writing for the American Screen. Neo-Avant-Garde Blockbuster.” 45.2 (winter 45.2 (winter 2006): 89-92. 2006): 3-16. Analyzing the connections between Rodman, Howard. “What a Screenplay Isn't.” In Focus: Writing for the American Matthew Barneys Cremaster series and a double genealogy—pertormance art of Screen. 45.2 (winter 2006): 86-89. the 1960s and 1970s and blockbuster film and Schamus, James, ed. In Focus: Writing museum culture—this essay argues that the for the American Screen. 45.2 (winter 2006): series’ investment in the blockbuster serves 85-107. to spectacularize performance in ways the undermine its historical relations to protest Smallman, Vicky. “Academic Labor: The culture. Canadian Context.” In Focus: Academic Labor. 45.4 (summer 2006): 108-112. Lewis, Jon. “The Crisis in Academic Em- ployment: A Local Story.” In Focus: Aca- Spigel, Lynn. “TV's Next Season?” In Focus: demic Employment. 45.4 (summer 2006): The Place of Television Studies. 45.1 (fall 120-123. 2005): 83-90. Lewis, Penny. See Jonathan Buchsbaum. Stenger, Josh. “The Clothes Make the Fan: Fashion and Online Fandom when Buffy the MacDonald, Scott. “16mm: Reports of Its Vampire Slayer Goes to eBay.” 45.4 (summer Death Are Greatly Exaggerated.” In Focus: The Death of 16mm? 45.3 (spring 2006): 2006): 26-44. The public's reception of eBay's auction 124-130. of Buffy the Vampire Slayer wardrobe items Miller, Toby. “Turn Off TV Studies!” In marked an instructive collision of online fan- Focus: The Place of Television Studies. 45.1 dom, television production/consumption and (fall 2005): 98-101. e-commerce. As opportunities for critique and fantasy production, the clothes crystal- Newcomb, Horace. “Studying Television: lized tensions within the series and among Same Questions, Different Contexts.” In fans: between ownership and authorship; a Focus: The Place of Television Studies. 45.1 viable feminist politics and the sexualization (fall 2005): 107-111. of cast and characters; the perceived egali- Oxenberg, Jan. “My Unexpected Life tarianism of online communities and eBay's in the Mainstream.” In Focus: Writing for explicit competitiveness. the American Screen. 45.2 (winter 2006): Ward, Frazer. See Keller, Alexandra. 101-106. White, Sydnye. “Documentary by Design.” Padva, Gilad. “Radical Sissies and Stereo- In Focus: Writing for the American Screen. typed Fairies in Laurie Lynd’s The Fairy That 45.2 (winter 2006): 92-95. Didn't Want to Be a Fairy Anymore.” 45.1 (fall 2005): 66-78. ree Zryd, Michael. “The Academy and the Laurie Lynd’s film The Fairy Who Didn't Avant-Garde: A Relationship of Dependence Want to Be a Fairy Anymore (1992) examines and Resistance.” 45.2 (winter 2006): 17-42. the cultural mechanisms of normalization and This essay examines what was called the masculinization in contemporary heterosexist academization of the North American avant- society. This article compares Lynd’s essen- garde in the 1970s and 1980s, arguing for a 150 Cinema Journal 45, No. 4, Summer 2006 material historical understanding of the role that academic institutions played in sustaining avant-garde distribution co-ops, regionalizing exhibition, publishing criticism, providing employment, and developing future genera- tions of artists, critics, and audiences. Cinema Journal 45, No. 4, Summer 2006 151