Table Of Content

INDEX TO VOLUME 36 AUTHOR INDEX Pardon, Joshua. Revisiting a Science Fiction Dirty Dozen (1967). Sue Matheson. Win- Anderson, Carolyn, and Jonathan Lupo. Classic: Interpreting The Day the Earth ter 180. Introduction to the Special Issue. Sum- Stood Still for Contemporary Film Audi- Introduction to the Special Issue. Carolyn mer 50. ences. Fall 141. Anderson and Jonathan Lupo. Summer 50. Chandler, David. Representing the Mad Radcliff, Matthew. Absentminded Profes- Minstrelsy and Wartime Buddies: Racial King: George III in the Cinema. Sum- sor or Romantic Artist? The Depiction of and Sexual Histories in White Christmas. mer 72. Creativity in Documentary Biographies Linda Mizejewski. Spring 21. Cornick, Michael. Cut, Spliced, and Dubbed of Albert Einstein. Summer 62. Mobile Phones as Narrative Tropes. William for the Sky: Film Censorship and the Air- Schlotterbeck, Jesse. “Trying to Find a Marling. Spring 38. line Industry. Winter 174. Heartbeat”: Narrative Music in the Pop Off-Hollywood Lives: Irony and Its Dis- Diffrient, David Scott. Filming a Life in Performer Biopic. Summer 82. contents in the Contemporary Biopic. Fragments: Thirty Two Short Films about Sickels, Robert C. “We're in a tight spot!”: Jonathan Lupo and Carolyn Anderson. Glenn Gould as “Biorhythmic-Pic.” Sum- The Coen Brothers’ Screwy Romantic Summer 102. mer 91. Comedies. Fall 114. Post-Princess Models of Gender: The New Frus, Phyllis. The Figure in the Landscape: Telotte, J. P. The Stereoscopic Mickey: Space, Man in Disney/Pixar. Ken Gillam and Capote and Infamous. Summer 52. Animation, and the Mouse. Fall 133. Shannon R. Wooden. Spring 2. Gillam, Ken, and Shannon R. Wooden. Post- Walsh, Kimberly R., Elfriede Fiirsich, and Bon- Representing the Mad King: George III in the Princess Models of Gender: The New nie S. Jefferson. Beauty and the Patriarchal Cinema. David Chandler. Summer 72. Man in Disney/Pixar. Spring 2. Beast: Gender Role Portrayals in Sitcoms Revisiting a Science Fiction Classic: Inter- Jenkins, Tricia. The Suburban Spy and the Featuring Mismatched Couples. Fall 123. preting The Day the Earth Stood Still for Rise of the New Right: Negotiating Gen- Contemporary Film Audiences. Joshua der Politics in Scarecrow and Mrs. King. TITLE INDEX Pardon. Fall 141. Winter 200. Absentminded Professor or Romantic Art- The Stereoscopic Mickey: Space, Anima- Johnston, Keith M. “Three Times as Thrill- ist? The Depiction of Creativity in Docu- tion, and the Mouse. J. P. Telotte. Fall ing!”: The Lost History of 3-D Trailer mentary Biographies of Albert Einstein. k i. 5 Production, 1953-54. Fall 150. Matthew Radcliff. Summer 62. Strange Fruit: White, Black, and Asian in Kraft, Elizabeth. All the President's Men as All the President's Men as a Woman’s Film. the World War Il Combat Film Bataan a Woman’s Film. Spring 30. Elizabeth Kraft. Spring 30. Brian Locke. Spring 9. Leeder, Murray. Forget Peter Vincent: Nos- Beauty and the Patriarchal Beast: Gen- The Suburban Spy and the Rise of the New talgia, Self-Reflexivity, and the Genre der Role Portrayals in Sitcoms Featur- Right: Negotiating Gender Politics in Past in Fright Night. Winter 190. ing Mismatched Couples. Kimberly R. Scarecrow and Mrs. King. Tricia Jenkins. Locke, Brian. Strange Fruit: White, Black, Walsh, Elfriede Fiirsich, and Bonnie S. Winter 200. and Asian in the World War II Combat Jefferson. Fall 123. “Three Times as Thrilling!”: The Lost His- Film Bataan. Spring 9. Can Romantic Comedy Be Gay? Hollywood tory of 3-D Trailer Production, 1953-54. Lupo, Jonathan, and Carolyn Anderson. Romance, Citizenship, and Same-Sex Keith M. Johnston. Fall 150. Off-Hollywood Lives: Irony and Its Dis- Marriage Panic. Debra A. Moddelmog. “Trying to Find a Heartbeat”: Narrative contents in the Contemporary Biopic. Winter 162. Music in the Pop Performer Biopic. Jesse Summer 102. Cut, Spliced, and Dubbed for the Sky: Schlotterbeck. Summer 82. Marling, William. Mobile Phones as Narra- Film Censorship and the Airline Industry. “We're in a tight spot!”: The Coen Brothers’ tive Tropes. Spring 38. Michael Cornick. Winter 174. Screwy Romantic Comedies. Robert C. Matheson, Sue. Individualism, Bentham’s The Figure in the Landscape: Capote and Sickels. Fall 114. Panopticon, and Counterculture in Robert Infamous. Phyllis Frus. Summer 52. BOOK REVIEWS Aldrich’s The Dirty Dozen (1967). Winter Filming a Life in Fragments: Thirty Two 180 Short Films about Glenn Gould as “Bio- Connelly, Mark. The Red Shoes. Rev. Jane Mizejewski, Linda. Minstrelsy and Wartime rhythmic-Pic.” David Scott Diffrient. Nicholas. Spring 46. Buddies: Racial and Sexual Histories in Summer 91. Johnson-Smith, Jan. American Science Fic- White Christmas. Spring 21. Forget Peter Vincent: Nostalgia, Self-Reflex- tion TV: Star Trek, Stargate and Beyond. Moddelmog, Debra A. Can Romantic Com- ivity, and the Genre Past in Fright Night. Rev. Doug Battema. Spring 45. edy Be Gay? Hollywood Romance, Citi- Murray Leeder. Winter 190. McElhaney, Joe. The Death of Classical zenship, and Same-Sex Marriage Panic. Individualism, Bentham’s Panopticon, and Cinema: Hitchcock, Lang, Minnelli. Rev. Winter 162 Counterculture in Robert Aldrich’s The Brian Faucette. Spring 46.