Post Script: Essays in Film & the Humanities

Articles and Bibliographies

Abel, Richard. "Before Fantomas: Louis Feuillade and the Development of Early French Cinema." 7.1 (Fall 1987): 4-26.

Abrash, Merritt "Have Faith and Enjoy: What the Stunt Man Learns." 5.1 (Fall 1985): 31-41.

Adah, Anthony. “Agential Mortality: Death, Corporeality, and Identity in Radiance (1997).” 24:2&3 (Winter/Spring & Summer

       2005): 35-47.

 

Aharoni, Gabriela Jonas. "Another Among Others: A Game of Paradoxes and Shifting Notions of Otherness." 38:2&3

      (Winter/Spring/Summer 2019): 59-69.

Aiken, Edward A. "Reflections on Dada and the Cinema." 3.2 (Winter 1984): 5-19.


Aldama, Frederick and Maurico Espinoza. "The Power of Z: 100 Years Celebrating our Latinx Zorro." 38.1 (Fall 2018): 3-7. 


Alemany-Galway, Mary. “Postmodernism in Canadian Film: I've Heard the Mermaids Singing.” 18.2 (Winter/Spring 1998): 25-36.

---. “Peter Jackson as Postcolonial Filmmaker: National Cinema and Hollywood Genres.” 25.2 (Winter/Spring 2006): 31-43.

 

Alilunas, Peter. "'Shot Live on Videotape': The Televisual Era of Adult Film, 1978-1982." 35.3 (Summer 2016): 6-18. 

Alison, Jane. “Stanley Kubrick's Eyes Wide Shut: A Masque in Disguise.” 23.1 (Fall 2003): 3-12.

Anderson, Carolyn, "Conversation, The as Exemplar and Critique of Sound Technology." 6.3 (Spring/Summer 1987): 13-30.

Anderson, Joseph D. "A Cognitive Approach to Continuity." 13.1 (Fall 1993): 61-66.

 

Andes, Stephen J.C. "Welcome to the Hotel Zorro! Such a Lovely Place." 38.1 (Fall 2018): 52-55.

Andrew, Dudley. "Immigrant Artists and the Look of French Films." 7.1 (Fall 1987): 27-45.

Andrew, Dudley and Colin Burnett. “Susan Sontag and the Criticism of Cinema’s Modernity: An Introduction.” 26.2

       (Winter/Spring 2007): 5-9.

Andrews, David. “Class, Gender, and Genre in Zalman King’s “Real High Erotica”: The Conflicting Mandates of Female Fantasy.”

       25.1 (Fall 2005):49-73.

Archessault, Janine and Graham Petrie. "The Film Studies Association of Canada." 18.2 (Winter/Spring 1999): 85-86.

Arthur, Paul and Naomi C. Liebler. "Kings of the Road: My Own Private Idaho and the Traversal of Welles, Shakespeare, and

       Liminality." 17.2 (Winter/Spring 1998): 26-38.

Askren, Carol L. R. "Moon Games in Godard's Je Vous Salue, Marie." 8.3 (Summer 1989): 28-39.

 

Atwood, Blake. " Home Video and the Death of Cinema: Notes from the Lebanese Civil War, 1975-1990." 35.3 (Summer 2016):

       80-98.

Austin-Smith, Brenda. “‘Mum’s the Word’: The Trial of Genre in Dancer in the Dark.” 26.1 (Fall 2006): 32-42.

Balcerzak, Scott. “Nationalizing and Segregating Performance: Josephine Baker and Stardom in ZouZou (1934). 26.1 (Fall 2006):

       13-31.

Balmain, Colette. “Mario Bava's The Evil Eye: Realism and the Italian Horror Film.” 21.3 (Summer 2002): 20-31.

 

Bane, Charles. "'Real Horrorshow Film': Pauline Kael and the Aesthetics of Violence." 35.1 (Fall 2015): 17-29.

Baron, Robert F. "Renoir's Neglected Masterpiece: Une Partie De Campagne." 3.1 (Fall 1983): 35-48.

Basu, Anustup. “Mantras of the Metropole: Digital Inscriptions and Mythic Curvatures of Profane Time.” 25.3 (Summer 2006):

       65-78.

Batschelet, Margaret. "The Androgyne on the Bus: Speed, the Deliverer-Hero, and the Hostage Plot." 18.3 (Summer 1999): 24-33.

Bazin, André. “A Bergsonian Film: The Picasso Mystery.” Trans. & Ed. by Bert Cardullo. 21.1 (Fall 2001): 31-38.

Beard, William. 'Lost and Gone Forever: Cronenberg's Dead Ringers." 15.2 (Winter/Spring 1996): 11-28.

Beatty, Bronwyn and Jennifer Lawn. “Getting to Wellywood: National Branding and the Globalisation of the New Zealand Film

       Industry.” 24:2&3 (Winter/Spring & Summer 2005): 122-139.

Beauvais, Paul Jude. "Lizzie Borden's Working Girls: Interpretation and the Limits of Ideology." 10.2 (Winter 1991): 50-63.

Benedetto, Lucio. "Forging an Original Response: A Review of Cassavetes Criticism in English." 11.2 (Winter 1992): 101-107.

---. "Annotated Bibliography: John Cassavetes." 11.2 (Winter 1992): 108-111.

 

Bernstein, Matthew. "Kurosawa's Narration and the Noh Theatre." 20.1 (Fall 200): 34-45.


Berry, Chris. "Turn for the Better?--Genre and Gender in Girl from Hunan and Other Recent Mainland Chinese Films, A." 14.1 & 2

       (Winter/Spring 1995): 82-103.

 

Berthomé, Jean-Pierre. "Reinventing Reality: Demy and His Sets." 35.2 (Winter/Spring 2016): 88-96.

Bick, Ilsa J. "Well, I Guess I Must Make You Nervous: Woman and the Space of Alien." 14.1 & 2 (Winter/Spring 1995): 45-58.

Bingham, Dennis. "Masculinity, Star Reception, and the Desire to Perform: Clint Eastwood in White Hunter, Black Heart." 12.2

       (Winter 1993): 40-53.

Bishop, Ellen. "Film Frames: Literacy and Satiric Violence in Contemporary Movies." 16.2 (Winter/Spring 1997): 18-34.

Blaetz, Robin. "La Femme Vacante or The Rendering of Joan of Arc in the Cinema." 12.2 (Winter 1993): 63-78.

 

Bláhová, Jindřiška. "Finding a Suitable Home for Video: Video and the State in 1980s Czechoslovakia." 35.3 (Summer 2016):

       67-79.

 

Blanc-Hoang, Henri-Simon. "Meta-Performance and Jewish Identity in Alejandro Jodorowsky's The Dance of Reality."  38:2&3

      (Winter/Spring/Summer 2019): 70-85. 

Bobowski, Slawomir. “Agnieszka Holland vs William Wyler: On Two Adaptations of Henry Jones's Wasington Square.” 23.3

       (Summer 2004): 50-63.

 

Boulange, Guillaumé . "Memories of Jacques Demy in the Cinema of André Téchiné." Trans. by Beth Mauldin. 35.2 (Winter/

       Spring 2016): 75-87.

Braudy, Leo. "Film Genre: A Dialogue. The Thirties, The Forties. 1.3 (Spring/Summer 1982): 27-29.

Broderick, Mike. “Septic Tanks Downunder: Representing American Soldiers as ‘Other’ in Australian Cinema.” 24:2&3

       (Winter/Spring & Summer 2005): 94-108.

Brooks, Christopher. “Sarah's Dream/ No Fate: Doubling in Terminator II.” 23.2 (Winter/Spring 2004): 62-71.

Bruce-Novoa, Juan. "There's Many a Slip Between Good Intentions and Script: The Milagro Beanfield War." 16.1 (Fall 1996):

       53-63.

Buchen, Irving H. "The Road to Xanadu." 1.3 (Spring/Summer 1982): 18-26.

Buckley, Christina A. “Alejandro Amenábar's Tesis: Art, Commerce, and Renewal in Spanish Cinema.” 21.2 (Winter/Spring 2002):

       12-25.

Buhler, Stephen M. "Double Takes: Branagh Gets to Hamlet." 17.1 (Fall 1997): 43-52.

Bullaro, Grace Russo. “Roberto Benigni's Life is Beautiful and the Protection of Innocence: Fable, Fairy Tale or Just Excuses?”

       23.1 (Fall 2003): 13-26.

Burdick, Dolores. "Danger of Death: The Hawksian Woman as Agent of Destruction." 1.1 (Fall 1981): 36-40.

Burnett, Colin and Dudley Andrew. “Susan Sontag and the Criticism of Cinema’s Modernity: An Introduction.” 26.2     

       (Winter/Spring 2007): 5-9.

Burton, Julianne. "Modernist Form in Land in Anguish and Memories of Underdevelopment." 3.2 (Winter 1984): 65-84.

Bywater, William. "Desire for Embodiment in Welles's Citizen Kane, The." 7.2 (Winter 1987): 43-57.

Cardullo, Bert. "Der letzte Mann Gets the Last Laugh: R. W. Murnau's Comic Vision." 1.1 (Fall.1981): 41-44.

Carlson, Jerry W. "Down the Streets of Time: Puerto Rico and New York City in the Films Q&A and Carlito's Way. 16.1 (Fall 1996):        34-40.

Carney, Ray. "A Polemical Introduction: The Road Not Taken." 11.2 (Winter 1992): 3-12.

---. "Seven Program Notes from the American Tour of the Complete Films: Faces, Husbands, Minnie and Moskowitz, A Woman

       Under the Influence, The Killing of a Chinese Bookie, Opening Night, and Love Streams." 11.2 (Winter 1992):
       37-100.

Casebier, Allan. "Idealist and Realist Theories of the Documentary." 6.1 (Fall 1986):
66-75.

Champagne, John. "Psychoanalysis and Cinema Studies: A 'Queer' Perspective." 14.1 & 2 (Winter/Spring 1995): 33-44.

Chapman, Lynnea King. "Introduction: Gen X Films." 19.2 (Winter/Spring 2000): 3-7.

---. "Generation X: Searching for an Identity?" 19.2 (Winter/Spring 2000): 8-18.

 

Cherjovsky, Ivan. "Argentine Jewish Farmers on the Screen." 38:2&3 (Winter/Spring/Summer 2019): 18-31.


Chesney, Duncan McColl. “Proust and Cinema, or Luchino Visconti's Search.” 23.2 (Winter/Spring 2004): 48-61.

Cheuk Pak-Tong. "The Beginning of the Hong Kong New Wave: The Interactive Relationship Between Television and the Film

       Industry." 19.1 (Fall 1999): 10-27.

Christensen, Ann C. " Petruchio's House in Postwar Suburbia: Reinventing the Domestic Woman (Again)." 17.1 (Fall 1997):

       28-42.

Chumo, Peter N. II. "At the Generic Crossroads with Thelma and Louise." 13.2 (Winter/Spring 1994): 3-13.


---. "The Next Best Thing to a Time Machine: Quentin Tarantino's Pulp Fiction." 15.3 (Summer 1996): 16-28.


Ciecko, Anne T. "Peter Greenaway's Alpha-Beastiary Ut Pictura Poesis: A Zed and Two Noughts." 12.1 (Fall 1992): 37-46.

Cieco, Anne T. and Sheldon H. Lu. "The Heroic Trio: Anita Mui, Maggie Cheung, Michelle Yeoh- Self-Reflexity and the

       Globalization of the Hong Kong Active Heroine." 19.1 (Fall 1999):70-86.

 

Coates, Paul. "The Unavoidably Implicit Aesthetics of Pauline Kael." 35.1 (Fall 2015): 30-34.

Collins, Michael J. "Medicine, Lust, Surrealism and Death: Three Early Films of David Cronenberg." 15.2 (Winter/Spring 1996):

       62-69.

Conlon, James. "Silencing Lambs and Educating Women." 12.1 (Fall 1992): 3-12.

---. “Wings of Desire and the Value of Mortality.” 23.1 (Fall 2003): 37-50.

Conrich, Ian. “Introduction [to Special Issue]: Australian and New Zealand Cinema.” 24:2&3 (Winter/Spring & Summer 2005):

       3-7.

---. “Global Pressure and the Political State: New Zealand’s Cinema of Crisis.” 24:2&3 (Winter/Spring & Summer 2005): 140-150.

Conroy, Peter V., Jr. "Amadeus on Stage and Screen." 9.1 & 2 (Fall 1989/Winter 1990): 25-37.

Cook, David A. "Shadows of Forgotten Ancestors: Film as Religious Art." 3.3 (Spring/Summer 1984): 16-23.

Cottenet-Hage, Madeleine. "Le Camion de Marguerite Duras; ou, Comment assurer la libre circulation." 7.1 (Fall 1987): 89-100.

Crane, William. "Creative Conflict: Bruce Dern and the Making of Coming Home." 1.2 (Winter 1982): 27-45.

Crespo, Virginia and Carl Goldberg. “A Psychological Examination of Serial Killer Cinema: The Case of Copycat.” 22.2

       (Winter/Spring 2003): 55-63.

Crockford, Julian. "'It's all about bucks, kids. The rest is conversation.' Framing the Economic Narrative from Wall Street to

       Reality Bites." 19.2 (Winter/Spring 2000): 19-33.

Crowl, Samuel. "Changing Colors Like the Chameleon: Ian McKellen's Richard III from Stage to Film." 17.1 (Fall 1997): 53-63.

Cui, Shuqin. "Working from the Margins: Urban Cinema and Independent Directors in Contemporary China." 20.2 & 3

       (Winter/Spring & Summer 2001): 77-93.

Curtin, Michael. "Industry on Fire: The Cultural Economy of Hong Kong Media." 19.1 (Fall 1999): 28-51.

Dagle, Joan. "Effacing Race: The Discourse on Gender in Diva." 10.2 (Winter 1991): 26-35.

Dagle, Joan and Kathryn Kalinak. "The Representation of Race and Sexuality: Visual and Musical Construction in Gone With the

       Wind. " 13.2 (Winter/Spring 1994): 14-27.

Dalziell, Tanya and Tony Hughes-D’Aeth. “Thematising the Global: Recent Australian Film.” 24:2&3 (Winter/Spring & Summer

       2005): 109-121.

Dapena, Gerard. “Solas: Andalusian Mothers in a Global Context.” 21.2 (Winter/Spring 2002): 26-37.

Davis, Darrell W. "Borrowing Postcolonial: Wu Nien-chen's Dou-san and the Memory Mine." 20.2 & 3 (Winter/Spring & Summer

       2001): 94-114.

D’Lugo, Marvin. “Recent Spanish Cinema in National and Global Contexts.” 21.2 (Winter/Spring 2002): 3-11.

---. “The Geopolitical Aesthetic in Recent Spanish Films.” 21.2 (Winter/Spring 2002): 78-89.

De Reus, Lee Ann and Kenneth Womack. "Misreading 'Little Limp Lo' and 'Humbert the Terrible': The Obfuscation of Child Abuse

       in Adrian Lyne's Lolita." 19.2 (Summer 2000): 58-66.

Desser, David. "Madadayo: No, Not Yet for the Japanese Cinema." 18.1 (Fall 1998): 52-58.

 

---. "The Mistress: The Economy of Sexuality." 11.1 (Fall 1991): 20-27.

---. "The Place of Dodeskaden." 20.1 (Fall 2000): 68-78.

---. "Disapora and National Identity: Exporting 'China' through the Hong Kong Cinema." 20.2 & 3 (Winter/Spring & Summer

       2001): 124-136.

Desser, David and Frances Gateward. “Introduction: Indian Cinema and Film Studies.” 25.3 (Summer 2006): 3-6.

Deutelbaum, Marshall. "Visual Design Program of Casablanca, The." 9.3 (Summer 1990): 36-48.

Deveny, Thomas."The Mirror and the Mask: Cinematographic Adaptations of Juan Marsé's El amante bilingüe." 16.1 (Fall 1996):

       5-12.

Devereaux, Mary. "Of 'Talk and Brown Furniture': The Aesthetics of Film Dialogue." 6.1 (Fall 1986) 32-52.

Díaz-Fernández, José Ramón. "Shakespeare on Screen: A Bibliography of Critical Studies." 17.1 (Fall 1997): 91-146.

---. "Shakespeare and Film-Derivatives: A Bibliography." 17.2 (Winter/Spring 1998): 110-120.

Diego, Catherine Don. “Hits, Whacks, and Smokes: The Celluloid Gangster as Horror Icon.” 21.3 (Summer 2002): 87-98.

Dixon, Wheeler Winston. "It Looks at You: Notes on the 'Look Back' in Cinema." 13.1 (Fall 1993): 77-86.

Donougho, Martin. "West of Eden: Terrence Malick's Days of Heaven." 5.1 (Fall 1985): 17-30.

Doss, Erika L. "Edward Hopper, Nighthawks, and Film Noir." 2.2 (Winter 1983): 14-36.

Dube, Reena. “Work, Play and Linguistic Hybridity in Postcolonial India: (DE)Forming the Indian Middle Class in Ray’s

       Kanchenjungha. 25.3 (Summer 2006): 7-16.

Dubuisson Castille, Philip. "Compson and Sternwood: William Faulkner's 'Appendix' and The Big Sleep." 13.3 (Summer 1994):

       54-61.

Duchovnay, Gerald. “Post Script Index: The First Twenty Years (1981-2001).” 21.1 (Fall 2001): 72-84.

Dunbar-Odom, Donna. "Reading, Writing, and Internalizing Cultural Narratives in Melanie and Stanley and Iris." 16.2

       (Winter/Spring 1997): 56-63.

Dunne, Micahel. "Bakhtinian Dialogic in Hector Babenco's Kiss of the Spider Woman." 14.3 (Summer 1995): 14-24.

---. “Mikhail Bakhtin and the Sundance Kid: Generic Dialogue in the Western.” 23.2 (Winter/Spring 2004): 33-47.

Durham, Carolyn A. “Sighting/Siting/Citing the City: The Construction of Paris in Twenty-First Century Cinema.” 27.1 (Fall

       2007): 72-89.

Eberwein, Robert. "The Erotic Thriller." 17.3 (Summer 1998): 25-33.

Eidsvik, Charles. "Perception and Convention in Acting for Theatre and Film." 8.2 (Winter 1989): 21- 35.

Eitzen, Dirk. "Attending to the Fiction: A Cognitive Account of Cinematic Illusion." 13.1 (Fall 1993): 47-60.

 

Espinoza, Mauricio. "'Latinizing' Zorro: Domestication and Resistance in Three Cinematic Portrayals of America's First 

       Superhero." 38.1 (Fall 2018): 20-31.

Farquhar, Mary and Chris Berry. "Shadow Opera: Towards a New Archeology of the Chinese Cinema." 20.2 & 3 (Winter/Spring &

       Summer 2001): 25-42.

Ferross, Suzanne and Mallory Young. “Chick Flicks and Chick Culture.” 27.1 (Fall 2007): 32-49.

Fischer, Lucy. "Lifestyles of the Rich and Famous: Imitation of Life." 10.2 (Winter 1991): 5-13.

---. "Irezumi: Tattoo, Taboo, and the Female Body." 18.1 (Fall 1998): 11-23.

Fleck, Patrice. "The Silencing of Women in the Hollywood 'Feminist' Film: The Accused." 9.3 (Summer 1990): 49-55.

---. "Looking in the Wrong Direction: Displacement and Literacy in the Hollywood Serial Killer Drama." 16.2 (Winter/Spring

       1997): 35-43.

---. "Introduction [to Special Issue]: Hong Kong Movies, Critical Time Warps, and Shapes of Things to Come."19.1(Fall 1999):

       2-9.

Fore, Steve. "Time-Traveling Under an Autumn Moon." 17.3 (Summer 1998): 34-46.

---. "Introduction [to Special Issue] : Hong Kong Movies, Critical Time Warps, and Shapes of Things to
       Come." 19.1 (Fall 1999): 2-9.

Furstenau, Marc. “The Ethics of Seeing: Susan Sontag and Visual Culture Studies.” 26.2 (Winter/Spring 2007): 91-104.

Gabbard, Krin. "Aliens and the New Family Romance." 8.1 (Fall 1988): 29-42.

Gaggi, Sylvio. "Rush's The Stunt Man: Politics, Metaphysics, and Psychoanalysis." 4.1 (Fall 1984): 18-34.

Gates, Philippa. “Manhunting: The Female Detective in the Serial Killer Film.” 24.1 (Fall 2004): 42-61.

Gateward, Frances and David Desser. “ Introduction [to Special Issue]: Indian Cinema and Film Studies.” 25.3 (Summer 2006):

       3-6.

Geist, Kathe "Filmmaking as Research: Wim Wenders' The State of Things." 5.2 (Winter 1986): 19-30.

---. "Late Kurosawa: Kagemusha and Ran." 12.1 (Fall 1992): 26-36.

Gentry, Ric. "Coppola's Faerie Tale Theatre." 8.1 (Fall 1988): 43-51.

---. "Poet as Film Editor: An Interview with Roberto Perpignani, An Introduction." 37.1 (Fall 2017): 3-5. 

 

Geva, Dan and Yvonne Kozlovsky-Golan." Introduction [to Special Issue]: Documentary Ethics." 36:2&3 (Winter/Spring &

       Summer 2017): 3-11.

Ghillebaert, Françoise. “From Doppelganger to Persona: Acting Becomes the Identity.” 22.3 (Summer 2003): 3-7.

---. “The Double in Bunuel's That Obscure Object of Desire.” 22.3 (Summer 2003): 57-68.

Ginsberg, Robert. "Philosophy and Film: An Introduction." 6.1 (Fall 1986): 2-4.

---. "Introduction to Film and Philosophy." 7.2 (Winter 1988): 2-3.

 

Glickman, Nora. "Semi-Autobiographical Jewish Films in the Americas: A Comparative Approach." 38:2&3         

      (Winter/Spring/Summer 2019): 109-120.

Goldberg, Carl and Virginia Crespo. “A Psychological Examination of Serial Killer Cinema: The Case of Copycat.” 22.2

       (Winter/Spring 2003): 55-63.

Goldhurst, William "Regeneration Through Disaster: San Francisco." 4.2 (Winter 1985): 45-62.

Golsan, Katherine. “Adaptation as Forgery: The Case of The Talented Mr. Ripley.” 23.3 (Summer 2004): 19-35.

Gomez, Gabriel. "Homocolonialism: Looking for Latinos in Apartment Zero and Paris is Burning." 14.1 & 2 (Winter/Spring

       1995): 117-124.

Gonzalez, Christopher. "Whither Zorro?" 38.1 (Fall 2018): 62-64.

 

Grafius, Brandon R. "Mama and Kristeva: Matricide in the Horror Film." 36.1 (Fall 2016): 52-63.

Grant, Barry K. "Nature, Culture, Documentary: The Films of Kevin McMahon." 15.1 (Fall 1995): 57-67.

---. " Canadian Cinema II: Introduction [to Special Issue]." 18.2 (Summer 1998): 3-4.

Gravett, Sharon. "Boats Against the Current: The Presence of the Past in The Moderns." 13.2 (Winter/Spring 1994): 28-34.

Griffith, James J. "Damned If You Do, and Damned If You Don't: James Dickey's Deliverance." 5.3 (Spring/Summer 1986): 47-59.

Grillo, Virgil and Bruce Kawin. "Reading at the Movies: Subtitles, Silence, and the Structure of the Brain." 1.1 (Fall 1981): 25-32.

Grindon, Leger. "Significance Reexamined: A Report on Bruce Conner." 4.2 (Winter 1985): 32-44.

---. "The Role of Spectacle and Excess in the Critique of Illusion." 13.2 (Winter/Spring 1994): 35-43.

Grochowski, Thomas. "Filled with Big Ideas, Images, and Distorted Facts: The Pastiche of Todd Haynes' I'm Not There." 37.1

       (Fall 2017): 39-51.


Guntner, J. Lawrence. "Expressionist Shakespeare: The Gade/Nielsen Hamlet (1920) and the History of Shakespeare on Film."

       17.2 (Winter/Spring 1998): 90-102.


Haas, Lynda and Mary Pharr. "Somatic Ideas: Cronenberg and the Feminine." 15.2 (Winter/Spring 1996): 29-39.

Haas, Robert. "The Cronenberg Monster: Literature, Science, and Psychology in the Cinema of Horror." 15.2 (Winter/Spring \

       1996): 3-10.

---. "David Cronenberg Filmography." 15.2 (Winter/Spring 1996): 75-78.

Handling, Piers. "Canada's Ten Best." 15.1 (Fall 1995): 6-8.

Hantke, Steffen. “Monstrosity Without a Body: Representational Strategies in the Popular Serial Killer Film.” 22.2

       (Winter/Spring 2003): 34-54.

Hastie, Amelie. " Fashion, Femininity, and Historical Design: The Visual Texture of Three Hong Kong Films." 19.1 (Fall 1999):

       52-69.

 

Hausman, Blake. "Zorro's Ancestor: Connections between Zorro and Joaquin Murrieta." 38.1 (Fall 2018): 8-19.

Head, David and Richard Falcon. "Die Glaserne Zelle: Geissendorfer, Highsmith, and Adaptation." 4.1 (Fall 1984): 49-63.

Heine, Steven. "Sayonara Can Mean 'Hello': Ambiguity and the Orientalist Butterfly Syndrome in Postwar American Films."

       16.3 (Summer 1997): 17-35.

Heisner, Beverly. "Movie Scenery and Popular Architecture: Morris Lapidus' Miami Beach Hotels." 1.1 (Fall 1981): 8-17.

 

Helke, Susanna. "The Documentarist and His Poor: On Radical Otherness and the Exuberance of the Have-Nots." 36:2&3

       (Winter/Spring & Summer 2017): 117-125. 

Held, Leonard. "Myth and Archetype in Nicholas Roeg's Walkabout." 5.3 (Spring/Summer 1986): 21-46.

Heldreth, Leonard. "Festering in Thebes: Elements of Tragedy and Myth in Cronenberg's Films." 15.2 (Winter/Spring 1996):

       46-61.

Hemmeter, Thomas. “Horror Beyond the Camera: Cultural Sources of Violence in Hitchcock's Mid-Century America.” 22.2

       (Winter/Spring 2003): 7-19.

Hermann, Chad. "Some Horrible Dream About (S)mothering": Sexuality, Gender, and Family in the New German Cinema."

       16.3 (Summer 1997): 36-50.

Herzogenrath, Bernd. “Join the United Mutations: Tod Browning's Freaks.” 21.3 (Summer 2002): 8-19.

Higgins, Lynn A. “Introduction [to Special Issue]: Adaptation.” 23.3 (Summer 2004): 3-4.

Hill, Jane. “Ambition and Ideology: Intertextual Clues to A Simple Plan’s View of the American Dream.” 24.1 (Fall 2004): 62-70.

Hill, Rodney. "Queering the New Wave Deal: Gender and Sexuality in Jacques Demy's A Slightly Pregnant Man." 34.1

       (Fall 2014): 50-60.

 

---. "Small Things Considered: Raising Arizona and Of Mice and Men." 8.3 (Summer 1989): 18-27.

 

---. "The Films of Jacques Demy: Introduction [to Special Edition]." 35.2 (Winter/Spring 2016): 3-13. 

Hillman, Roger. “Lola and Billy the Kid (1999): A Turkish Director’s Western Showdown in Berlin.” 25.2 (Winter/Spring 2006):

       44-55.

Hirano, Kyoko. "The New Generation of Japanese Film Producers." 18.1 (Fall 1998): 79-88.

Hoffman, Judi. "The Discourse of 'Special Effects' Cinematography in the Silent American Cinema." 10.1 (Fall 1990): 30-49.

Holmes, Michael Morgan. "New Romantic Shakespeare: AIDS, Poetry, and Community Survival in Derek Jarman's The Angelic

       Conversation." 17.2 (Winter/Spring 1998): 56-72.

Hoorn, Jeanette. “White Lubra/White Savage: Pituri and Colonialist Fantasy in Charles Chauvel’s Uncivilized (1936).” 24:2&3

       (Winter/Spring & Summer 2005): 48-63.

Hotchkiss, Lia M. "The Incorporation of Word as Image in Prospero's Books." 17.2 (Winter/Spring 1998): 8-25.

Hu, Brian. “Bollywood Dreaming: Kal Ho Naa Ho and the Diasporic Spectator.” 25.3 (Summer 2006): 93-104.

Hughes-D’Aeth, Tony and Tanya Dalziell. “Thematising the Global: Recent Australian Film.” 24:2&3 (Winter/Spring & Summer

       2005): 109-121.

 

Humphrey, Daniel. "Bad Girls and Illicit Interludes: Ingmar Bergman Outside the Box." 34: 2&3 (Winter/Spring & Summer 2015):

       12-35.

Humphries, Reynold. “On the Road Again: Rehearsing the Death Drive in Modern Realist Horror Cinema.” 22.2 (Winter/Spring

       2003): 64-80.

Hutcheon, Linda. “Why Adapt?” 23.3 (Summer 2004): 5-18.

 

Ickzovits, Yaniv. "Convicts and Heroes: Wittengensteinian Afterthoughts on Uri Barabash's In Clean Conscience and Double

       Alpha." 36:2&3 (Winter/Spring & Summer 2017): 86-97. 

Ingersoll, Earl G. "Bringing the (Gender) War Home: Vietnam and Elia Kazan's The Visitors." 17.3 (Summer 1998): 55-68.

Inouye, Charles Shiro. "Dreaming about Women-The Family Films of Tamasaburo Bando." 18.1 (Fall 1998): 68-77.

Jackson, Neil. “Cannibal Holocaust, Realist Horror, and Reflexivity.” 21.3 (Summer 2002): 32-45.

 

Jaikumar, Priya. “A New Universalism: Terrorism and Film Language in Mani Ratnam’s Kannathil Muthamittal." 25.3

       (Summer 2006):48-64.

Jarvie, Ian. "Philosophic Dialogue on Film: A Screen Treatment." 6.1 (Fall 1986): 5-31.

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Kasper, Loretta F. and Robert Singer. "Reading, Language Acquisition, and Film Strategies." 16.2 (Winter/Spring 1997): 5-17.

Keane, Marian. "Dyer Straits: Theoretical Issues in Studies of Film Acting." 12.2 (Winter 1993): 29-39.

Keathley, Christian. “Sontag and Cinephilia.” 26.2 (Winter/Spring 2007): 72-80.

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Kercher, Dona M. “Hitting the Mark from Television to Film: Violence, Timing, and the Comedy Team in Alex de la Iglesia's

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Knight, Julia. "High Hopes for Video: The UK Independent Film and Video Sector's Engagement with the Videocasette." 35.3

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Koff, Calvin. “Some Notes on Antonioni and Others.” 26.2 (Winter/Spring 2007): 137- 141.

Kolar, Meredith. “The Mystery of the Unsung Song.” 23.3 (Summer 2004): 87-98.

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Koos, Leonard R. “Films Without Borders: An Introduction.” 25.2 (Winter/Spring 2006): 3-18.

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La Caze, Marguerite. “The Mourning of Loss in The Sixth Sense.” 21.3 (Summer 2002): 111-121.

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       Liminality." 17.2 (Winter/Spring 1998): 26-38.

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Loiselle, André. "Subtly Subversive or Simply Stupid: Notes on Popular Quebec Cinema." 18.2 (Winter/Spring 1998): 75-84.

 

Longacre, Jeffrey. "The Difference Between Crows and Blackbirds: Alfred Hitchcock and the Treason of Images." 34:2-3 (Winter/

       Spring & Summer 2015): 53-70.

Lowenstein, Adam. "Canadian Horror Made Flesh: Contextualizing David Cronenberg." 18.2 (Winter/Spring 1999): 37-51.

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       Globalization of the Hong Kong Action Heroine." 19.1 (Fall 1999): 70-86.

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        and Summer 2001): 3-8.

Lu, Sheldon H. "Hong Kong Disapora Film and the Transnational TV Drama: From Homecoming and Exile to Flexible

       Citizenship." 20.2 & 3 (Winter/Spring & Summer 2001): 137-146.

 

Lucas, Martin. "Documentary: Trauma and an Ethics of Knowing." 36:2&3 (Winter/Spring & Summer 2017): 98-116. 

Luprecht, Mark. "Opaque Skies: Wings of Desire-Angelic Text, Context, and Subtext." 17.3 (Summer 1998): 47-54.

Ma, Jean Y. “Doubled Lives, Dissimulated History: Hou Hsiao-hsien's Good Men, Good Women.” 22.3 (Summer 2003): 21-33.

Mackey. Jill A. "Lesbians in This House: Sister My Sister and Lesbian Subjectivity." 18.3 (Summer 1999): 34-45.

Magistrale, Tony. "Cronenberg's "Only Really Human Movie": The Dead Zone." 15.2 (Winter/Spring 1996): 40-45.

Majumdar, Neepa. “Doubling, Stardom, and Melodrama in India Cinema: The "Impossible" Role of Nargis.” 22.3 (Summer 2003):

       89-103.

Marchessault, Janine and Graham Petrie. "The Film Studies Association of Canada." 18.2 (Winter/Spring): 85-86.

Marchetti, Gina. "White Knights in Hong Kong: Race, Gender, and the Exotic in Love is a Many-Splendored Thing and The World

       of Suzie Wong." 10.2 (Winter 1991): 36-49.

Margolis, Harriet E. "Blue Steel: Progressive Feminism in the 90s?" 13.1 (Fall 1993): 67-76.

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Mathews, Peter. “Spinoza’s Stone: The Logic of Donnie Darko.” 25.1 (Fall 2005): 38-48.

Maule, Rosanna. “Juanma Bajo Ulloa's Airbag and the Politics of Spanish Regional Authorship.” 21.2 (Winter/Spring 2002):

       64-77.

Maxfield, James F. "Now it's Dark: The Child's Dream in Blue Velvet." 8.3 (Summer 1989): 2-17.

Mazdon, Lucy. “The Cannes Film Festival as Transnational Space.” 25.2 (Winter/Spring 2006): 19-30.

McCombe, John P. “Reinventing Bird: The Evolving Image of Charlie Parker on Film.” 25.1 (Fall 2005): 22-37.

McDonald, Keiko I. "Morita Yoshimitsu's Sorekara (And Then): Novel into Film." 9.1 &2 (Fall 1989/Winter 1990): 67-81.

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McGlothlin, Erin. “Speaking the Mind's Voice: Double Discursivity in Jane Campion's The Piano.” 23.2 (Winter/Spring 2004):

       19-32.

McLaughlin, Jim. “Putting Her Body on the Line: The Critical Acts of Susan Sontag, Part I.” 26.2 (Winter/Spring 2007): 10-23.

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Michaels, Lloyd. "The Thin Blue Line and the Limits of Documentary." 13.2 (Winter/Spring 1994): 44-50.

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Miyao, Daisuke. "Blue vs. Red: Takeshi Kitano's Color Scheme." 18.1 (Fall 1998): 112-127.

Mizejewski, Linda. "Total Recoil: The Schwarzenegger Body on Postmodern Mars." 12.3 (Summer 1993): 25-33.

 

Morag, Raya. "Blood Relations and Nonconsensual Ethics: Israeli Intifada Documentaries." 36:2&3 (Winter/Spring &

       Summer 2017): 75-85. 

Morgan, Jack. “Refiguring Gothic Mythology: The Film Noir-Horror Hybrids of the 1980s.” 21.3 (Summer 2002): 72-86.

 

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Murphy, Joseph. "Brownian Movement in Recent Japanese Film." 18.1 (Fall 1998): 38-51.

Nagler, Lihi. “Singling Out the Double: Objectivity, Subjectivity and Alterity in Kieslowski's The Double Life of Veronique.” 

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Nair, Parvati. “In Modernity's Wake: Transculturality, Deterriotorialization and the Question of Community in Icíar Bollaín's Las

       flores de otro mundo (Flowers from Another World).” 21.2 (Winter/Spring 2002): 38-49.

Nericcio, WIlliam Anthony. "The Masked Man in the Mirror: Seven Panels in Search of an Enigma Named Zorro in the Age of

      Latinx Emergency." 38.1 (Fall 2018): 45-49.

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Nobuhiko,Obayashi. "Kurosawa and Cinematic Traditions." Trans. David Mills. 20.1 (Fall 2000): 79-81.

Nolley, Ken and Steven Mintz. “Recent Directions in Documentary: An Introduction [to Special Issue].” 26.3 (Summer 2007): 2-5.

Norton, Glen. "The Seductive Slack of Before Sunrise." 19.2 (Winter/Spring 2000): 62-72.

 

Nowell, Richard. "'For Girls': Hollywood, the Date-Movie Market, and Early-1980s Teen Sex Comedies." 34.1 (Fall 2014): 16-32.

 

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Nuriel, Patricia G. and Luca Barattoni. "Introduction: Jewish Latin American Film: A Morphing Notion." 38:2&3

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Nygren, Scott. "New Narrative Film in Japan: Stress Fractures in Cross-Cultural Postmodernism." 11.1 (Fall 1991): 48-56.

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Odabasi, Eren. "Rediscovering Jewish Identity in Daniel Burman's The Tenth Man." 38:2&3 (Winter/Spring/Summer 2019):

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O’Meara, Lucy. “Sontag’s Barthes: A Portrait of the Aesthete.” 26.2 (Winter/Spring 2007): 105-116.

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Pelizzon, V. Penelope and Nancy West. “‘A Perfect Double Down to the Last Detail’: Photography and the Identity of Film Noir.”

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Prindle, Tamae K. "A Cocooned Identity: Japanese Girl Films: Nobuhiko Oobayashi's Chizuko's Younger Sister and Jun Ichikawa's

       Tsugumi." 18.1 (Fall 1998): 24-37.

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Ramachandran, Hema. “The Animation of Anne: Japanese Anime Encounters the Diary of a Holocaust Icon.” 24.1 (Fall 2004):

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Ramsay, Christine. "Léo Who?: Questions of Identify and Culture in Jean-Claude Lauzon's Léolo." 15.1 (Fall 1995): 23-37.

 

Ran, Amalia. "The Return to the Savage Era: Jewish Signifiers and Violence in Damian Szifron's Wild Tales." 38:2&3

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Rapf, Joanna E. "In the Beginning was the Work: Steven Geller on Slaughterhouse-Five." 4.2 (Winter 1985): 19-31.

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Redfern, Nick. "Exploratory Data Analysis and the Editing Structure of Friday the Thirteenth (1980)." 34:2-3 (Winter/ Spring &

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Rombes, Nicholas. “A through S(e7en): A Racial Taxonomy of Serial Killer Cinema.” 22.2 (Winter/Spring 2003): 81-90.

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Rueschmann, Eva. “Out of Place: Reading (Post)Colonial Landscapes as Gothic Space in Jane Campion’s Films.” 24:2&3

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Ruppert, Peter. "Fassbinder's Despair: Hermann Hermann Through the Looking-Glass." 3.2 (Winter,1984): 48-64.

Sanderson, Jill and Cecil Johnson. "Clint Eastwood's Last Cowboy: The Bridges of Madison County." 19.3 (Summer 2000): 41-57.

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Sartre, Jean-Paul  "Citizen Kane," Tans. by Dana Polan. 7.1 (Fall 1987): 60-65.

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       Excalibur." 4.1 (Fall 1984): 35-48.

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       Machinima.” 26.3 (Summer 2007): 34-52.


Smaill, Belinda. “Three Australian Documentaries: Diaspora and Subjectivity.” 24:2&3 (Winter/Spring & Summer 2005): 22-34.

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       14-26.

 

Stavans, Ilan. "The Treason of Zorro (1993)." 38.1 (Fall 2018): 50-51.

Steffen-Fluhr, Nancy. “Disabled by Desire: Body Doubles in Rear Window (1942), Rear Window (1954), and Rear Window

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Stivers, Clint and Kirsten F. Benson. "What's Your Name, Kid?: The Acousmatic Voiceovers of Private Edward P. Train in The Thin

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Stubblefield, Thomas. “Ritwik Ghatak and the Role of Sound in Representing Post-Partition Bengal. 25.3 (Summer 2006): 17-29.

Studlar, Gaylyn. "Seduced and Abandoned? Feminist Film Theory and Psychoanalysis in the 1990s." 14.1 & 2 (Winter/Spring

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Taylor, Henry M. “More than a Hoax: William Karel’s Critical Mockumentary Dark Side of the Moon.” 26.3 (Summer 2007):

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  Updated September 2019