Post Script
Essays in Film and the Humanities
Post Script: Essays in Film & the Humanities
Complete Journal Index
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. “The Conversation 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.
Anderson, Robert. Rev. of Circulating Film Library Catalogue, by Museum of Modern Art. 5.1 (Fall 1985): 67-68.
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.
Bailey, John. “Vittorio Storaro: A Lifetime in Light.” 29.2 (Winter/Spring 2010): 44-47.
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.
Barraza, Vania. “Alicia Scherson [Interview]: Women’s Roles and Challenges in the Film Industry.” 40.2&3 (Winter/Spring &
Summer 2021): 17-26.
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. and ed. 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 2000): 34-45.
Berry, Chris. “A Turn for the Better?—Genre and Gender in Girl from Hunan and Other Recent Mainland Chinese Films.”
14.1&2 (Fall 1994 & Winter/Spring 1995): 81-103.
Berthomé, Jean-Pierre. “Reinventing Reality: Demy and His Sets.” 35.2 (Winter/Spring 2016): 88-96.
Bertucci, Muriel. “Raoul Coutard [an Interview].” 29.2 (Winter/Spring 2010): 51.
Bick, Ilsa J. “Well, I Guess I Must Make You Nervous: Woman and the Space of Alien3.” 14.1&2
(Fall 1994 & 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.
Bixby, Barbara. Rev. of Eisenstein at Work, by Jay Leyda and Zina Voynow. 2.3 (Spring/Summer 1983): 62-64.
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, JindÅ™iška. “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.
Bloch, Joel. Rev. of Chinese Film Theory: A Guide to the New Era, by George S. Semsel, Xia Hong, and Hou Jianping, Eds.
10.3 (Summer 1991): 77-79.
Bobowski, Slawomir. “Agnieszka Holland vs William Wyler: On Two Adaptations of Henry James’ Wahington Square.”
23.3 (Summer 2004): 50-63.
Boulange, Guillaumé. “Memories of Jacques Demy in the Cinema of André Téchiné.” Trans. Beth Mauldin. 35.2
(Winter/Spring 2016): 75-87.
Bowen, Michael. Rev. of Macbeth: CD ROM, ed. A.R. Braunmuller, with commentary by David S. Rodes. 17.2
(Winter/Spring 1998): 107-108.
Braudy, Leo. “Film Genre: A Dialogue. The Thirties, The Forties.” 1.3 (Spring/Summer 1982): 27-29.
Braudy, Leo and Robert P. Kolker. “Robert Altman: An Interview, Part I.” 1.1 (Fall 1981): 2-7.
—. “Robert Altman: An Interview, Part II.” 1.2 (Winter 1982): 2-14.
Braudy, Leo and Mark Crispin Miller. “Sydney Pollack: An Interview.” 3.1 (Fall 1983): 2-18.
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.
Byabartta, Debarati. “Welcome, Mr. Marshall! versus Horn of Plenty: Transcendence of Berlanguian Humor.” 39.1
(Fall 2019): 31-44.
Bywater, William. “The Desire for Embodiment in Welles’s Citizen Kane.” 7.2 (Winter 1987): 43-57.
Carcereny, Júlia Gonález de Canales. “Multilingual Paraguay in Paz Encina’s Cinematography [an Interview].” 40.2&3
(Winter/Spring & Summer 2021): 79-86.
Card, James Van Dyck. Rev. of Adventures in the Screen Trade, by William Goldman. 3.3 (Spring/Summer 1984): 63-65.
—. Rev. of Cinema: The First Hundred Years, by David Shipman. 14.3 (Summer 1995): 78-80.
—. Rev. of Film: An International History of the Medium, by Robert Sklar. 14.3 (Summer 1995): 78-80.
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 (Fall 1994 & 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.
Charlton, Colin. Rev. of Toward Cinema and Its Double: Cross-Cultural Mimesis, by Laleen Jayamanne. 22.3
(Summer 2003): 115-116.
Charney, Mark. Rev. of “David Cronenberg” in Inner Views: Filmmakers in Conversation. 15.2 (Winter/Spring 1996): 70-74.
—. ev. of Cronenberg on Cronenberg, ed. Chris Rodley. 15.2 (Winter/Spring 1996): 70-74.
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.
—. “A 35mm Resurgence—Just in Time or Too Late?: Interviews with Dennis Hauck and John Hawkes.” 34.2&3
(Winter/Spring & Summer 2015): 3-11.
—. “Preserving History, Preserving Film: An Interview with Son of Saul’s László Nemes and Géza Röhrig.” 36.1 (Fall 2016): 3-10.
Ciecko, Anne T. “Peter Greenaway's Alpha-Beastiary Ut Pictura Poesis: A Zed and Two Noughts.” 12.1 (Fall 1992): 37-46.
Ciecko, 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.
Covey, William B. Rev. of Autopsy: An Element of Realism in Film Noir, by Carl Richardson. 13.2 (Winter/Spring 1994): 51-53.
—. Rev. of Dames in the Driver’s Seat: Rereading Film Noir, by Jans B Wager. 26.1 (Fall 2006): 62-65.
Cox, Terrance. Rev. of Mondo Canuck, by Geoff Pevere. 18.2 (Winter/Spring 1998): 87-90.
Craig, J. Robert. Rev. of Gendering Science Fiction Films: Invaders from the Suburbs, by Susan A. George. 34.1
(Fall 2014): 100-102.
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.
Dabb, JeanAnn. Rev. of From Moscow to Madrid: Postmodern Cities, European Cinema, by Ewa Mazierska and Laura Rascaroli.
25.2 (Winter/Spring 2006): 80-82.
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: Nien-chen Wu’s Dou-san and the Memory Mine.” 20.2&3
(Winter/Spring & Summer 2001): 94-114.
Davis, Mitch. “Living is a Selfish Act: An Interview with Gaspar Noé.” 21.3 (Summer 2002): 122-130.
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. Rev. of The Hollywood Professionals: Wilder and McCarey, by Leland Poague. 1.3 (Spring/Summer 1982): 54-56.
—. Rev. of Masters of the American Cinema, by Louis Giannetti. 2.1 (Fall 1982): 66-67.
—. Rev. of Currents in Japanese Cinema, by Tadao Sato. 2.2 (Winter 1983): 59-61.
—. “The Mistress: The Economy of Sexuality.” 11.1 (Fall 1991): 20-27.
—. “Madadayo: No, Not Yet for the Japanese Cinema.” 18.1 (Fall 1998): 52-58.
—. “The Place of Dodes’ka-den.” 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 [to Special Issue]: Indian Cinema and Film Studies.” 25.3
(Summer 2006): 3-6.
Deutelbaum, Marshall. “The Visual Design Program of Casablanca.” 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. “Roger Corman: An Interview.” 8.1 (Fall 1988): 2-15.
—. Rev. of The Press: Observed and Projected, eds. Philip French and Deac Rossell. 12.1 (Fall, 1992): 61-63.
—. “It Looks at You: Notes on the ‘Look Back’ in Cinema.” 13.1 (Fall 1993): 77-86.
—. “No More Excuses: An Interview with Robert Downey, Sr.” 21.1 (Fall 2001): 3-13.
—. “Jamie Babbit: An Interview.” 21.1 (Fall 2001): 14-23. [Rpt. 34.2&3 (Winter/Spring & Summer 2015): 107-116.]
—. “‘The Golden Years’: An Interview with Ronald Neame.” 23.2 (Winter/Spring 2004): 3-18.
—. “Bennett Miller: An Interview.” 26.1 (Fall 2006): 3-12.
Doherty, Thomas. Rev. of A Certain Tendency of the Hollywood Cinema, 1930-1980, by Robert Ray. 6.3
(Spring/Summer 1987): 90-92.
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. Rev. of Cinemabilia Catalogue Seven, ed. Ernest D. Burns. 1.1 (Fall 1981): 48.
—. Rev. of Contemporary Literary Criticism, Vol. 16. 1.1 (Fall 1981): 48.
—. Rev. of Movies and Entertainment: The Video Tape/Disc Guide. Rev. ed. 1.1 (Fall 1981): 48.
—. “Don Bluth: An Interview.” 1.3 (Spring/Summer 1982): 2-17.
—. “Tony Buba: An Interview.” 9.1&2 (Fall 1989 & Winter 1990): 2-24.
—. “Post Script Index: The First Twenty Years (1981-2001).” 21.1 (Fall 2001): 72-84.
—. “Post Script: A Forty-Year Journey (1981-2021).” 40.2&3 (Winter/Spring & Summer 2021): 116-145
—. “From the General Editor [Introduction to Special Issue].” 39.2&3 (Winter/Spring & Summer 2020): 3.
Dunbar-Odom, Donna. “Reading, Writing, and Internalizing Cultural Narratives in Melanie and Stanley and Iris.” 16.2
(Winter/Spring 1997): 56-63.
Dunne, Michael. “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. Forum: “Film as Dream.” 2.2 (Winter 1983): 57-58.
—. Rev. of Ingmar Bergman and the Rituals of Art, by Paisley Livingston. 2.1 (Fall 1982): 62-63.
—. “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.
Ehrlich, Linda C. Rev. of Moving Pictures, by Anne Hollander. 8.3 (Summer 1989): 70-72.
Ehrlich, Linda and Shibagaki Akiko. “Miyagawa Kazuo: My Life as a Cameraman.” 11.1 (Fall 1991): 5-19.
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.
Feitlowitz, Marguerite. “Marcela Said [an Interview]: Aftermaths of Pinochet’s Chile.” 40.2&3
(Winter/Spring & Summer 2021): 48-61.
Ferman, Claudia. “Argentine Documentarian Alejandra Perdomo and the Ecosystems of Change [an Interview].” 40.2&3
(Winter/Spring & Summer 2021): 105-115.
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.
Foreman, Joel. Rev. of Ideology and the Image: Social Representation in the Cinema and Other Media, by Bill Nichols. 2.1
(Fall 1982): 60-61.
Forrest, Jennifer. Rev. of Between Shanghai and Hong Kong: The Politics of Chinese Cinemas, by Poshek Fu. 25.2
(Winter/Spring 2006): 82-83.
Forsberg, Walter. “Underground Impulses: Elana Pardo’s Mexican Multimodal Media Praxis [an Interview].” 40.2&3
(Winter/Spring & Summer 2021): 94-104.
Foster, Gwendolyn Audrey. Rev. of Streetwalking on a Ruined Map: Cultural Theory and the City Films of Elvira Notari,
by Giuliana Bruno. 13.2 (Winter/Spring 1994): 54-56.
—. “Barbara Hammer, an Interview: Re/Constructing Lesbian Auto/Biographies in Tender Fictions and Nitrate Kisses.” 16.3
(Summer 1997): 3-16. [Rpt. 34.2&3 (Winter/Spring & Summer 2015): 117-130.]
Fournier, Michael. Rev. of The Essential Jacques Demy, DVD/Blu-Ray. 35.2 (Winter/Spring 2016): 97-103.
Francavilla, Joseph V. “Ellison Wonderland: Harlan Ellison Interviewed.” 10.1 (Fall 1990): 9-20.
Francis, Terri. “Julie Dash [an Interview]: Challenging the Paradigm.” 39.2&3 (Winter/Spring & Summer 2020): 50-65.
Friedman, Lester and Scott Stewart. “Keeping His Own Voice: An Interview with Stephen Frears.” 11.3 (Summer 1992): 3-18.
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.
Gallani, Silvia. “Poet as Film Editor: An Interview with Roberto Perpignani.” 37.1 (Fall 2017): 3-21.
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.
Gelder, Ken. Rev. of Killing for Culture: An Illustrated History of Death Film from Mondo to Snuff, by David Kerekes and
David Slater. 21.3 (Summer 2002): 131-133.
Gentry, Ric. “Ken Russell: An Interview.” 2.3 (Spring/Summer 1983): 2-23.
—. “Vittorio Storaro: An Interview, Part I.” 4.1 (Fall 1984): 2-17.
—. “Vittorio Storaro: An Interview, Part II.” 4.2 (Winter 1985): 2-18.
—. “William Friedkin, An Interview, Part I.” 5.3 (Spring 1986): 2-20.
—. “William Friedkin: An Interview, Part II.” 6.1 (Fall 1986): 76-91.
—. “Francis Coppola: An Interview.” 6.3 (Spring/Summer 1987): 2-12.
—. “Coppola’s Faerie Tale Theatre.” 8.1 (Fall 1988): 43-51.
—. “Francis Coppola: An Interview (Part II).” 8.1 (Fall 1988): 52-63.
—. “Jack N. Green: An Interview.” 8.2 (Winter 1989): 2-20.
—. “Dean Semler, Cinematographer: An Interview.” 9.3 (Summer 1990): 3-20.
—. “Oliver Stone: An Interview.” 15.3 (Summer 1996): 3-15.
—. “Robert Richardson, Cinematographer: An Interview.” 16.2 (Winter/Spring 1997): 64-84.
—. “Clint Eastwood: An Interview.” 17.3 (Summer 1998): 3-24.
—. “James Woods: An Interview.” 18.3 (Summer 1999): 3-23.
—. “Dede Allen: An Interview.” 19.3 (Summer 2000): 3-28.
—. “Vilmos Zsigmond: An Interview.” 24.1 (Fall 2004): 3-40.
—. “Christian Nyby: An Interview.” 25.1 (Fall 2005): 3-21.
—. “Laurie Collyer: An Interview.” 27.1 (Fall 2007): 3-31.
—. “Introduction: Vittorio Storaro, Cinematographer as Painter with Light and Motion.” 29.2 (Winter/Spring 2010): 3-7
—, ed. “Vittorio Storaro on Caragaggio, an Artist of Light and Shadow, with Director Angelo Longoni.” 29.2
(Winter/Spring 2010): 8-17.
—, ed. “Vittorio Storaro on the Art of Cinematography, with Director Angelo Longoni, on Carvaggio (2007).” 29.2
(Winter/Spring): 18-37.
—, ed. “Storaro and Longoni on Caravaggio (cont’d).” 29.2 (Winter/Spring 2010): 38-43.
—. “Todd McCarthy [on Vittorio Storaro].” 29.2 (Winter/Spring 2010): 48-50.
—. “Abel Ferrara [on Vittorio Storaro].” 29.2 (Winter/Spring 2010): 52-53.
—. “Vilmos Zsigmond [on Vittorio Storaro].” 29.2 (Winter/Spring 2010): 54-58.
—. “John Bailey [on Vittorio Storaro].” 29.2 (Winter/Spring 2010): 59-62.
—. “Steven Poster [on Vittorio Storaro].” 29.2 (Winter/Spring 2010): 63-65.
—. “Caleb Deschanel [on Vittorio Storaro].” 29.2 (Winter/Spring 2010): 81-86.
—. “Owen Roizman [on Vittorio Storaro].” 29.2 (Winter/Spring 2010): 87-90.
—. “Dede Allen [on Vittorio Storaro].” 29.2 (Winter/Spring 2010): 91-92.
—. “Dean Tavoularis [on Vittorio Storaro].” 29.2 (Winter/Spring 2010): 93-100.
—. “Michael Apted [on Vittorio Storaro].” 29.2 (Winter/Spring 2010): 101-104.
—. “Dante Spinotti [on Vittorio Storaro].” 29.2 (Winter/Spring 2010): 105-110.
—. “Allen Daviau [on Vittorio Storaro].” 29.2 (Winter/Spring 2010): 118-120.
—. “John Carpenter: An Interview.” 34.1 (Fall 2014): 3-15.
—. “Poet as Film Editor: An Interview with Roberto Perpignani, An Introduction.” 37.1 (Fall 2017): 3-5.
Gentry, Ric and Robin Wallace. “Film Editor Pietro Scalia: An Interview.” 13.3 (Summer 1994): 3-29.
George, Susan. Rev. of Alien Women: The Making of Lt. Ellen Ripley, by Ximena C. Gallardo and C. Jason Smith. 23.2
(Winter/Spring 2004): 88-91.
Geva, Dan and Yvonne Kozlovsky-Golan. “Introduction [to Special Issue]: Documentary Ethics.” 36.2&3
(Winter/Spring & Summer 2017): 3-11.
Ghillebaert, Françoise. “From Doppelgänger to Persona: Acting Becomes the Identity.” 22.3 (Summer 2003): 3-7.
—. “The Double in Buñuel’s That Obscure Object of Desire.” 22.3 (Summer 2003): 57-68.
Gibson, Lee. Rev. of Illuminating Shadows: The Mythic Power of Film, by Geoffrey Hill. 14.1&2
(Fall 1994 & Winter/Spring 1995): 125-126.
Ginsberg, Robert. “Philosophy and Film: An Introduction.” 6.1 (Fall 1986): 2-4.
—. “Introduction to Film and Philosophy.” 7.2 (Winter 1988): 2-3.
Glajar, Valentina. Rev. of Cinema of Flames: Balkan Film, Culture and the Media, by Dina Lordanova. 25.2
(Winter/Spring 2006): 84-86.
Glenn, Lauren. Rev. of What Cinema Is!, by Dudley Andrew. 30.1 (Fall 2010): 101-102
Glickman, Nora. “Semi-Autobiographical Jewish Films in the Americas: A Comparative Approach.” 38.2&3
(Winter/Spring & Summer 2019): 109-120.
—. “On Finding the Comfort Zone in Mariana Chenillo’s Challenging Mexican Films [an Interview].” 40.2&3
(Winter/Spring & Summer 2021): 7-16.
Glickman, Nora and Patricia G. Nuriel. “Introduction [to Special Issue]: Interviews with Latin American Women Filmmakers.”
40.2&3 (Winter/Spring & Summer 2021): 3-6.
Gofberg, Robin. Forum. [“Subtitles, Silence, and the Structure of the Brain”: A Reply.] 1.3 (Spring/Summer 1982): 49-50.
Golan, Yvonne Kozlovsky. “A Matter of Life and Death: The Unspeakable Others in Israeli Cinema.” 40.1 (Fall 2020): 18-37.
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 (
Fall 1994 & 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.
Grigar, Dene. Rev. of Allegories of Communication: Intermedial Concerns from Cinema to the Digital, eds. John Fullerton
and Jan Olsson. 25.1 (Fall 2005): 74-75.
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.
—. “The Monster Boomer: An Interview with David Skal.” 15.3 (Summer 1996): 44-53.
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.
Harcourt, Peter. “A Conversation with Atom Egoyam.” 15.1 (Fall 1995): 68-74.
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.
Hawk, Bryon. Rev. of Shakespearean Films/Shakespearean Directors, by Peter Donaldson. 17.2
(Winter/Spring 1998): 103-106.
Hayes, M. Hunter. Rev. of Frank: The Voice, by James Kaplan. 30.1 (Fall 2010): 103-104.
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.
Henderson, Scott. Rev. of Canadian Dreams: The Making and Marketing of Independent Films, by Michael Posner. 15.1
(Fall 1995): 81-83.
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.
Higginbotham, Virginia. Rev. of Convictions and Contradictions of Luis Buñuel: Mon dernier soupir, by Luis Buñuel. 6.2
(Winter 1987): 63-73.
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. “Small Things Considered: Raising Arizona and Of Mice and Men.” 8.3 (Summer 1989): 18-27.
—. “Queering the New Wave Deal: Gender and Sexuality in Jacques Demy’s A Slightly Pregnant Man.” 34.1 (Fall 2014): 50-60.
—. “The Films of Jacques Demy: Introduction [to Special Issue].” 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.
Hills, Matt. Rev. of Mythologies of Violence in Postermodern Media, ed. Christopher Sharrett. 21.3 (Summer 2002): 134-135.
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.
Hudson, Dale. Rev. of i-Docs: The Evolving Practice of Interactive Media, eds. Judith Aston, Sandra Gaudenzi, and Mandy Rose.
36.2&3 (Winter/Spring & Summer 2017): 126.
Hughes-D’Aeth, Tony and Tanya Dalziell. “Thematising the Global: Recent Australian Film.” 24.2&3
(Winter/Spring & Summer 2005): 109-121.
Hulet, Clayton H. “In a Lonely Journal: A Selected Bibliography of Scholarly Articles on Film Noir, 1946-2019.” 40.1
(Fall 2020): 51-81.
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.
Ibazeta, María Celina. “Another Argentina: The Indigenous Wichí Seen by Caniela Seggiaro [an Interview].” 40.2&3
(Winter/Spring & Summer 2021): 87-93.
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.
Jayamanne, Laleen. “The Museum as Refuge for Film: The Case of Kumar Shahani’s Epic Cinema.” 25.3 (Summer 2006): 79-92.
Jellenik, Glenn. “The Problem of Pauline Kael: A Consideration of the Dynamics of Academic and Mainstream Criticism.” 35.1
(Fall 2015): 35-46.
Jennings, Wade. Rev. of Some Time in the Sun, by Tom Dardis. 1.2 (Winter 1982): 78-79.
Jones Elizabeth. “Films That ‘Never Transcend the Realm of Art.’” 3.2 (Winter 1984): 20-33.
—. “Locating Truth in Film, 1940-1980.” 6.1 (Fall 1986): 53-65.
Jones, G. William. “Canadian Preserve for an Endangered Species: The Free Animator.” 10.3 (Summer 1991): 13-29.
Jortner, David. “Stability of the Heart Amidst Hills of Green: An Ecocritical Reading of Kurosawa Akira’s Ran.” 20.1
(Fall 2000): 82-91.
Kantor, Debora G. “Performing in the Borders-Inheritance, Politics, and Judiasm in Pervomaisk: An Interview
with Flora Reznik.” 38.2&3 (Winter/Spring & Summer 2019): 9-17.
Kasper, Loretta F. and Robert Singer. “Reading, Language Acquisition, and Film Strategies.” 16.2 (Winter/Spring 1997): 5-17.
Kaufman, J. B. “Merbabies: The Disney Film That Wasn’t.” 6.3 (Spring/Summer 1987): 45-53.
Kawin, Bruce. Forum. [“Subtitles, Silence, and the Structure of the Brain”: A Reply.] 1.3 (Spring/Summer 1982): 51.
—. “Hawks on Faulkner: Excerpts from an Interview.” 22.1 (Fall 2002): 3-22.
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.
Kellman, Steven G. “Blaise Cendrars’ L’Or as Cinematic Novel.” 4.3 (Spring/Summer 1985): 16-28.
Kepley, Vance, Jr. “Strike Him in the Eye: Dovzhenko’s Aerograd and the Stalinist Terror.” 2.2 (Winter 1983): 37-54.
Kercher, Dona M. “Hitting the Mark from Television to Film: Violence, Timing, and the Comedy Team in Alex de la Iglesia’s
Muertos de Risa (1999).” 21.2 (Winter/Spring 2002): 50-63.
Kerekes, David. “Reply to Gelder.” 21.3 (Summer 2002): 133.
Kernan, Margot. Rev. of The Film in History: Restaging the Past, by Pierre Sorlin. 1.1 (Fall 1981): 45-46.
—. Rev. of Godard: Images, Sounds, Politics, by Colin McCabe. 3.1 (Fall 1983): 61-64.
Knapp, Shoshana. Forum: “Film as Dream, II.” 2.3 (Spring/Summer 1983): 60-61.
Knee, Adam. “The Family Game is Up: Morita Revises Ozu.” 11.1 (Fall 1991): 40-47.
Knight, Julia. “High Hopes for Video: The UK Independent Film and Video Sector’s Engagement with the Videocasette.” 35.3
(Summer 2016): 50-66.
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.
Kolker, Robert P. “The Eighties.” 1.3 (Spring/Summer 1982): 30-32.
—. “Modernism: An Introduction.” 3.2 (Winter 1984): 2-4.
—. “French Cinema: Introduction.” 7.1 (Fall 1987): 2-3.
—. “Carne’s Les Portes de la Nuit and the Sleep of French Cinema.” 7.1 (Fall 1987): 46-59.
Kooijman, Jaap and Tarja Laine. “American Psycho: A Double Portrait of Serial Yuppie Patrick Bateman.” 22.3
(Summer 2003): 46-56.
Koos, Leonard R. “Films Without Borders: An Introduction.” 25.2 (Winter/Spring 2006): 3-18.
—. Rev. of Beyond Bollywood: The Cultural Politics of South Asian Diasporic Film, by Jigna Desai. 25.2
(Winter/Spring 2006): 86-88.
Kouvaros, George and Janice Zwierzynski. “Blow to the Heart: Cassavetes’ Love Streams.” 11.2 (Winter 1992): 27-36.
La Caze, Marguerite. “The Mourning of Loss in The Sixth Sense.” 21.3 (Summer 2002): 111-121.
Lafond, Frank. “The Life and Crimes of Ben; or, When a Serial Killer Meets a Film Crew in Man Bites Dog.” 22.2
(Winter/Spring 2003): 92-102.
Laine, Tarja and Jaap Kooijman. “American Psycho: A Double Portrait of Serial Yuppie Patrick Bateman.” 22.3
(Summer 2003): 46-56.
Landon, Brooks. “Rethinking Science Fiction Film in the Age of Electronic (Re)Production: On a Clear Day You Can
See the Horizon of Invisibility.” 10.1 (Fall 1990): 60-71.
Landy, Marcia. “They Were Sisters: The British Woman’s Film.” 10.2 (Winter 1991): 14-25.
Lanier, Douglas. “Now: The Presence of History in Looking for Richard.” 17.2 (Winter/Spring 1998): 39-55.
LaRocca, David. “Shooting for the Truth: Amateur Documentary Filmmaking, Affective Optics, and Ethical Impulse.”
36.2&3 (Winter/Spring & Summer 2017): 46-60.
Latham, James. “‘Your Life Is Not a Very Good Script’: David Holzman’s Diary and Documentary Expression in Late 1960s
America and Beyond.” 26.3 (Summer 2007): 22-33.
Latteier, Pearl. “Gender and the Modern Body: Men, Women, and Machines in Vertov's Man with a Movie Camera.”
22.1 (Fall 2002): 23-34.​
Lavery, David. Rev. of Fellini’s Road, by Donald P. Costelli. 3.2 (Winter 1984): 85-87.
—. “Autobiography and Film: Introduction.” 6.2 (Winter 1987): 12-13.
—. “Major Man: Fellini as an Autobiographer.” 6.2 (Winter 1987): 14-28.
—. “News from Africa: Fellini-Grotesque.” 9.1&2 (Fall 1989 & Winter 1990): 82-98.
—. “Home Movie 8 1/2: The Beerdrinker’s Guide to Fitness and Filmmaking.” 11.3 (Summer 1992): 46-52.
Lawn, Jennifer and Bronwyn Beatty. “Getting to Wellywood: National Branding and the Globalisation of the New Zealand
Film Industry.” 24.2&3 (Winter/Spring & Summer 2005): 122-139.
Leach, Jim. ”Lost Bodies and Missing Persons: Canadian Cinema(s) in the Age of Multi-National Representations.” 18.2
(Winter/Spring 1999): 5-18.
Lee, Eunah. “Trauma, Excell, and the Aesthetics of Affect: The Extreme Cinemas of Chan-Wook Park.” 34.1 (Fall 2014): 33-49.
Lee, Sander H. “Escape and Commitment in Hitchcock's Rear Window.” 7.2 (Winter 1988): 18-28.
—. “Alfred Hitchcock: Misogynist or Feminist?” 10.3 (Summer 1991): 38-48.
Lefebvre, Jean Pierre. “Quebec Independent Cinema in the 1990s.” 18.2 (Winter/Spring 1999): 19-24.
Leff, Leonard J. “Notes Toward a Syntagmatic Analysis of the Program/Commercial Axis of Theatrical Films Screened
on American Television.” 2.2 (Winter 1983): 55-56.
Lehmann, Courtney. “Kenneth Branagh at the Quilting Point: Shakespearean Adaptation, Postmodern Auteurism,
and the (Schizophrenic) Fabric of ‘Everyday Life.’” 17.1 (Fall 1997): 6-27.
Lehman, Peter. ”Safeguarding the Real Advances: Psychoanalysis and the History of Film Theory.”
14.1&2 (Fall 1994 & Winter/Spring 1995): 14-21.
Leitch, Thomas. “Post-Literary Adaptation.” 23.3 (Summer 2004): 99-117.
Lev, Peter and Gary Scharnhorst. “Nathanael West’s Unproduced Screen Treatment of A Cool Million: A Twice-Twisted Tale.”
2.3 (Spring/Summer 1983): 24-32.
Levinson, Brett. “Towards a Psychoanalysis of Culture: Sex, Nation, and the Praxis of the Liminal in American Me and
The Labyrinth of Solitude.” 16.1 (Fall 1996): 13-33.
Li, H.C. “Hong Kong Electric Shadows II: Recent English Publications on Hong Kong Cinema.” 20.2&3
(Winter/Spring & Summer 2001): 159-168.
Liebler, Naomi C. and Paul Arthur. “Kings of the Road: My Own Private Idaho and the Traversal of Welles, Shakespeare,
and Liminality.” 17.2 (Winter/Spring 1998): 26-38.
Lindstrom, Naomi. “Turf Wars: Contested Space in Three Jewish Latin American Films.” 38.2&3
(Winter/Spring & Summer 2019): 45-58.
Little, William G., “‘Like an Animal’: Figures on the Move in The Godfather.” 34:2&3 (Winter/Spring & Summer 2015): 84-101.
Lockhart, Darrell B. Rev. of Evolving Images: Jewish Latin American Cinema, eds. Nora Glickman and Ariana Huberman.
38.2&3 (Winter/Spring & Summer 2019): 121-124.
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.
Lu, Sheldon H. and Anne T. Ciecko. “The Heroic Trio: Anita Mui, Maggie Cheung, Michelle Yeoh—Self-Reflexivity
and the Globalization of the Hong Kong Action Heroine.” 19.1 (Fall 1999): 70-86.
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.
Lu, Sheldon H. and Yeh Yueh-Yu. “Introduction: Centennial Reflections on Chinese Language Cinemas.” 20.2&3
(Winter/Spring & Summer 2001): 3-8.
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.
Lyons, Inmaculada. Rev. of Encyclopedia of Contemporary Spanish Film, eds. Salvador Jiménez Murguía and Alex Pinar.
40.1 (Fall 2020): 82-84.
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.
Macksey, Richard. “Malle on Malle, Part I [an Interview].” 2.1 (Fall 1982): 2-12.
—. “Malle on Malle, Part II [an Interview].” 2.2 (Winter 1983): 2-13.
Magistrale, Tony. “Cronenberg's ‘Only Really Human Movie’: The Dead Zone.” 15.2 (Winter/Spring 1996): 40-45.
Maland, Charles. “The Millionaire Tramp.” [Review] 3.3 (Spring/Summer 1984): 55-62. [Comments on books and
essays on Charlie Chaplin.]
—. Rev. of All that Hollywood Allows: Rereading Gender in 1950s Melodrama, by Jackie Byars. 12.1 (Fall 1992): 64-66.
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.
Marshall, Alexander J., III. “The Lure of Eros: Nietzchean Intertextuality in Visconti, Mahler, and Mann.” 13.3
(Summer 1994): 30-38.
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.
—. “Japanese Cinema: An Introduction [to Special Issue].” 11.1 (Fall 1991): 2-4.
—. “Shinoda's Maihime (Die Tänzerin): Short Story into Action.” 15.3 (Summer 1996): 29-43.
—. “Introduction [to Special Issue]: Contemporary Japanese Cinema.” 18.1 (Fall 1998): 3-7.
—. “Suzaku: Documenting the Country Family in Contemporary Japan.” 18.1 (Fall 1998): 101-111.
—. “Films of Kurosawa Akira: Introduction [to Special Issue].” 20.1 (Fall 2000): 3-6.
—. “Dream, Song and Symbol: More about Drunken Angel.” 20.1 (Fall 2000): 23-33.
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.
—. “Putting Her Body on the Line: The Critical Acts of Susan Sontag, Part II.” 26.2 (Winter/Spring 2007): 24-40.
McNeill, Isabelle. “Feeling the Future: Crisis, Time and Emotion in Mia Hansen Love’s Things to Come (2016).” 39.1 (
Fall 2019): 17-30.
McRobbie, Michael. “Meryl Streep [an Interview]: Powering the Empathy Machine.” 39.2&3
(Winter/Spring & Summer 2020): 6-20.
Michaels, Lloyd. “The Thin Blue Line and the Limits of Documentary.” 13.2 (Winter/Spring 1994): 44-50.
—. Rev. of Woody Allen: A Biography, by Eric Lax. 11.3 (Summer 1992): 81-82.
Michel, Frann. “From ‘Their Eyes’ to ‘New Eyes’: Suffering Victims and Cultivated Aesthetics in Born into Brothels.” 26.3
(Summer 2007): 53-61.
Miller, Cynthia. “Ethnographic Documentary Filmmakers Sarah Elder and Leonard Kamerling: An Interview.” 27.1
(Fall 2007): 90-109.
Miller, Gabriel. “Beyond the Frame: Hitchcock, Art, and the Ideal.” 5.2 (Winter 1986): 31-46.
Mintz, Steven and Ken Nolley. “Recent Directions in Documentary: An Introduction.” 26.3 (Summer 2007): 2-5.
Mitrano, G.F. “The Photographic Imagination: Sontag and Benjamin.” 26.2 (Winter/Spring 2007): 117-136.
Miyao, Daisuke. “Blue vs. Red: Takeshi Kitano’s Color Scheme.” 18.1 (Fall 1998): 112-127.
—. “The Importance of being Historical.” Rev. of Kurosawa: Film Studies and Japanese Cinema, by Mitsuhiro Yoshimoto. 20.1
(Fall 2000): 96-101.
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(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.
Munchnick, Justin Ross. “‘Would That It Were So Simple’: Visions of Stardom in A Star is Born (1954) and Hail, Caesar! (2016).
40.1 (Fall 2020): 38-50.
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22.3 (Summer 2003): 8-20.
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.
Neupert, Richard. “Exercising Color Restraint: Technicolor in Hollywood.” 10.1 (Fall 1990): 21-29.
—. “Jacques Demy's Bay of Angels: A New Wave Mode of Production.” 35.2 (Winter/Spring 2016): 14-21.
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Nicks, Joan. Rev. of Atom Egoyan, by Carole Desbarts et al. Trans. Brian Holmes. 15.1 (Fall 1995): 75-80.
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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.
—. “Introduction [to Special Issue]: Home Video and Media Texts.” 35.3 (Summer 2016): 3-5.
Nuriel, Patricia G. “Jeanine Meerapfel’s Films on Memory and the Argentine Dictatorship: A Retrospective [an Interview].”
40.2&3 (Winter/Spring & Summer 2021): 62-71.
Nuriel, Patricia G. and Luca Barattoni. “Introduction [to Special Issue]: Jewish Latin American Film: A Morphing Notion.”
38.2&3 (Winter/Spring & Summer 2019): 3-8.
Nuriel, Patricia G. and Nora Glickman. “Introduction: Interviews with Latin American Women Filmmakers.” 40.2&3
(Winter/Spring & Summer 2021): 3-6.
Nygren, Scott. “New Narrative Film in Japan: Stress Fractures in Cross-Cultural Postmodernism.” 11.1 (Fall 1991): 48-56.
O’Brien, Charles. “Sontag’s Erotics of Film Style: Between Meaning and Presence.” 26.2 (Winter/Spring 2007): 41-51.
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(Winter/Spring & Summer 2019): 96-108.
O’Meara, Lucy. “Sontag’s Barthes: A Portrait of the Aesthete.” 26.2 (Winter/Spring 2007): 105-116.
Orgeron, Devin Anthony. “Scatological Film Practice: Pulp Fiction and a Cinema in Movements.” 19.3 (Summer 2000): 29-40.
Orr, Leonard. Rev. of The Films of Robbe-Grillet, by Roy Arnes. 1.3 (Spring/Summer 1982): 52-53.
Osborne, Laurie E. “Mixing Media in Shakespeare: Animating Tales and Colliding Modes of Production.” 17.2
(Winter/Spring 1998): 73-89.
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(Fall 2015): 3-16.
Oyallon-Koloski, Jenny. “A Dance in Disguise: Figure Movement and Genre Play in Peau d'Ane." 35.2
(Winter/Spring 2016): 59-74.
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Palmer, R. Barton. Rev. of The Classical Hollywood Cinema: Film Style and Mode of Production to 1960, by David Bordwell,
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Paterson, Susanne F. “Fassbinder’s Ali: Fear Eats the Soul and the Expropriation of a National Heim.” 18.3
(Summer 1999): 46-57.
Pelizzon, V. Penelope and Nancy West. “‘A Perfect Double Down to the Last Detail’: Photography and the Identity of Film Noir.”
22.3 (Summer 2003): 34-45.
Perlmutter, Ruth. “Lizzie Borden: An Interview.” 6.2 (Winter 1987): 2-12.
—. “Peter Greenaway: An Inter-Review.” 8.2 (Winter 1989): 56-63.
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Pfefferkorn, Eli. “Bettleheim, Wertmuller, and the Morality of Survival.” 1.2 (Winter 1982): 15-26.
Pharr, Mary and Lynda Haas. “Somatic Ideas: Cronenberg and the Feminine.” 15.2 (Winter/Spring 1996): 29-39.
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Poague, Leland. Rev. of Interpreting Films: Studies in the Historical Reception of American Cinema, by Janet Staiger. 13.1
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—. Rev. of Orson Welles, Shakespeare, and Popular Culture, by Michael Anderegg. 21.1 (Fall 2001): 39-42.
—. “The Tramp as Text.” 1.2 (Winter 1982): 62-74.
Polan, Dana. Rev. of French Cinema: First Wave, 1915-192, by Richard Abel. 4.2 (Winter 1985): 63-65.
—. Rev. of Kino-Eye, by Dziga Verto. 5.1 (Fall 1985): 60-61.
—. Rev. of Cahiers Du Cinema: The 1950s, ed. Jim Hillier. 5.2 (Winter 1986): 64-68.
—. “Sarte and Cinema.” 7.1 (Fall 1987): 66-88.
—. Rev. of Andy Warhol’s Art and Films, by Patrick Smith. 8.1 (Fall 1988): 66-68.
—. Rev. of Psychiatry and the Cinema, by Krin Gabbard and Glen O. Gabbard. 8.2 (Winter 1989): 64-65.
—. Rev. of French Film Theory and Criticism, 1907-1930, by Richard Abel. 9.1&2 (Fall 1989 & Winter 1990): 125-128.
Pressler, Michael. “Antonioni’s Blow-Up: Myth, Order, and the Photographic Image.” 5.1 (Fall 1985): 42-59.
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—. “Memory and Nostalgia in Kurosawa’s Dream World.” 11.1 (Fall 1991): 28-39.
—. “Contemporary Directions in Film Theory: An Introduction [to Special Issue].” 13.1 (Fall 1993): 3-9.
—. “In Memory of Kurosawa Akira.” 20.1 (Fall 2000): 92-95.
Prindle, Tamae K. “A Cocooned Identity: Japanese Girl Films: Nobuhiko Oobayashi’s Chizuko’s Younger Sister and
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—. “Kurosawa Akira’s No Regrets for Our Youth (1946).” 20.1 (Fall 2000): 10-22.
Prime, Rebecca. “Stranger than Fiction: Genre and Hybridity in the ‘Refugee Film.’” 25.2 (Winter/Spring 2006): 56-66.
Radzinski, Ian. Rev. of 1968 and Global Cinema, eds. Christina Gerhardt and Sara Saljoughi. 39.1 (Fall 2019): 45-47.
Radwan, Jon. “Generation X and Postmodern Cinema: Slacker.” 19.2 (Winter/Spring 2000): 34-48.
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(Fall 2004): 71-81.
Ramaeker, Paul. “Demy in the New Hollywood: Model Shop.” 35.2 (Winter/Spring 2016): 41-58.
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
(Winter/Spring & Summer 2019): 86-95.
Rapf, Joanna E. “In the Beginning was the Work: Steven Geller on Slaughterhouse-Five.” 4.2 (Winter 1985): 19-31.
—. “A Larger Thing: John Michael Hayes and The Children’s Hour.” 9.1&2 (Fall 1989 & Winter 1990): 38-52.
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(Spring/Summer 1987): 31-44.
Raw, Laurence. Rev. of Hollywood’s Indies: Classics Divisions, Specialty Labels and the American Film Market,
by Yannis Tzioumakis. 34.1 (Fall 2014): 104.
—. Rev. of Indie 2.0: Change and Continuity in Contemporary American Indie Film, by Geoff King. 34.1 (Fall 2014): 105.
—. Rev. of Understanding Fandom: An Introduction to the Study of Fan Culture, by Mark Duffett. 34.1 (Fall 2014): 106.
—. Rev. of Adaptation, Individuality and the British Celebrity Biopic, eds. Marta Minier and Maddalena Pennachia. 35.1
(Fall 2015): 99.
—. Rev. of Alien Imaginations: Science Fiction and Tales of Transnationalism, eds. Ulrika Kuchler, Silja Moehl, Graeme Stout.
36.1 (Fall 2016): 66.
—. Rev. of Audience Transformations: Shifting Audience Positions in Late Modernity, eds. Nico Carpentier,
Kim Christian Schroder, Lawrie Hallett. 36.1 (Fall 2016): 64.
—. Rev. of Cinematic Homecoming: Exile and Return in Transnational Cinema, ed. Rebecca Prime. 36.1 (Fall 2016): 65.
—. Rev. of Transnational Audiences: Media Reception on a Critical Scale, by Adrian Athique. 36.1 (Fall 2016): 66.
Rayner, Jonathan. “Conflict and Conspiracy: Public and Personal Memory in Australian Film.” 24.2&3
(Winter/Spring & Summer 2005): 82-93.
Reed, Cory. “Batman Returns: From the Comic(s) to the Grotesque.” 14.3 (Summer 1995): 37-50.
Redfern, Nick. “Exploratory Data Analysis and the Editing Structure of Friday the Thirteenth (1980).” 34:2&3
(Winter/ Spring & Summer 2015): 71-83.
Rein, Leonid. Rev. of The Phantom Holocaust: Soviet Cinema and Jewish Catastrophe, by Olga Gershenson. 34.1
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Rennert, Hal H. “Transformations: Thoughts Regarding Film Title Translations.” 1.1 (Fall 1981): 33-35.
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Ridgway, Franklin. “‘You Come Back!’; or, Mulholland Trieb. 26.1 (Fall 2006): 43-61.
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—. “Porous Borders: The Documentary Films of Natalia Almada.” 39.2&3 (Winter/Spring & Summer 2020): 21-32.
Rizi, Najmeh Moradiyan. Rev. of Queer Enchantments: Gender, Sexuality, and Class in the Fairy-Tale Cinema
of Jacques Demy, by Anne Duggan. 35.2 (Winter/Spring 2016): 104.
Roche, David. “David Cronenberg’s Having to Make the Word Be Flesh.” 23.2 (Winter/Spring 2004): 72-87.
Roche, Mark W. “Hitchcock and the Transcendence of Tragedy: I Confess as Speculative Art.” 10.3 (Summer, 1991): 30-37.
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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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—. Rev. of German Film and Literature: Adaptations and Transformations, ed. Eric Rentschler. 7.3 (Summer 1988): 66-68.
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Sartre, Jean-Paul “Citizen Kane.” Trans. Dana Polan. 7.1 (Fall 1987): 60-65.
Sato, Kazuy. Rev. of Something Like an Autobiography, by Akira Kurosawa. 6.2 (Winter 1987): 74-76.
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—. Rev. of Viewing Positions: Ways of Seeing Film, ed. Linda Williams. 16.3 (Summer 1997): 65-67.
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—. “Introduction [to Special Issue], Pt. I: Dimensions of the Real.” 21.3 (Summer 2002): 3-7.
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20.2&3 (Winter/Spring & Summer 2001): 115-123.
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—. “Michael Maloney: An Interview.” 17.1 (Fall 1997): 79-87.
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Ufaz, Ohad. “A Personal Call for Public Justice: Documentary Testimony from a Levinasian Perspective.” 36.2&3
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Udden, James. “The Stubborn Persistance of the Local in Wong Kar-wai.” 25.2 (Winter/Spring 2006): 67-79.
Ulloa, Jose. “Who is Zorro? The California Hero as a Metaphor of American Identity.” 38.1 (Fall 2018): 32-36.
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Varnell, Margaret A. “A Note on Richard III (1912).” 17.1 (Fall 1997): 88-90.
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Vickers, Jon. “Introduction [to Special Issue]: Interviews from Indiana University Cinema.” 39.2&3
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Viera, Maria. “Cassavetes’ Working Methods: Interviews with Al Ruban and Seymour Cassel.” 11.2 (Winter 1992): 13-19.
Virtue, Nancy. “Cubism and the Carnivalesque in Jacques Demy’s Les Demoiselles de Rochefort.” 35.2
(Winter/Spring 2016): 22-40.
Vogel, Steven. “Ontological Critique in the Work of Werner Herzog.” 7.3 (Summer 1988): 2-13.
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Ward, Carol. Rev. of The Marx Brothers: A Bio-Bibliography, by Wes Gehring. 8.2 (Winter 1989): 66-68.
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Watts, Linda S. Rev. of The Man Who Would Marry Susan Sontag, and Other Intimate Portraits of the Bohemian Era,
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West, Nancy and V. Penelope Pelizzon. “‘A Perfect Double Down to the Last Detail’: Photography and the
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Willem, Linda M. “Saura and Storaro: A Professional Friendship.” 29.2 (Winter/Spring 2010): 111-117.
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Williams, Bruce. “Slippery When Wet: En-Sexualized Transgressions in the Films of Pedro Almodovar.” 14.3
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—. “‘Life is Very Precious, Even Right Now’: (Un)Happy Camping in the New German Cinema.” 16.3 (Summer 1997): 51-64.
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Wolfe, Charles. Rev. of An Examination of Narrative Structure in Four Films of Frank Capra, by Brian Rose. 1.2
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—. Rev. of The Dark Side of Genius: The Life of Alfred Hitchcock, by Donald Spoto. 4.2 (Winter 1985): 66-67.
—. Rev. of Dreadful Pleasures, by James B. Twitchell. 5.3 (Spring/Summer 1986): 84-87.
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Woodward, Katherine S. Rev. of Feminist Criticism and Women’s Pictures, by Annette Kuhn. 3.1 (Fall 1983): 49-58.
—. “European Anti-Melodrama: Godard, Truffaut, and Fassbinder.” 3.2 (Winter 1984): 34-47.
—. “Feminist Film Criticism: An Introduction [to Special Issue].” 10.2 (Winter 1991): 3-4.
—. “Female Naming: The Emergence of a Second Story in It Should Happen to You.” 10.2 (Winter 1991): 64-76.
Worland, Rick. “Faces Behind the Mask: Vincent Price, Dr. Phibes, and the Horror Genre in Transition.” 22.2
(Winter/Spring 2003): 20-33.
Yacowar, Maurice. “Beyond Parody: Woody Allen in the 80s.” 6.2 (Winter 1987): 29-42.
Yamamoto, Fumiko Y. “Heisei tanuki-gassen: Pon poko.” 18.1 (Fall 1998): 59-67.
Yiu-wai, Chu. “(In)authentic Hong Kong: The ‘(G)local’ Cultural Identity in Postcolonial Hong Kong Cinema.” 20.2&3
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Young, Mallory and Suzanne Ferriss. “Chick Flicks and Chick Culture.” 27.1 (Fall 2007): 32-49.
Yueh-Yu, Yeh. “A Life of Its Own: Musical Discourses in Wong Kar-Wai’s Films.” 19.1 (Fall 1999): 120-136.
Zhen, Zhang. “Bodies in the Air: The Magic of Science and the Fate of the Early ‘Martial Arts’ Film in China.” 20.2&3
(Winter/Spring & Summer 2001): 61-76.
Zuber, Sharon. “The Force of Reality in Direct Cinema: An Interview with Albert Maysles.” 26.3 (Summer 2007): 6-21.
Zucker, Carole. “The Illusion of the Ordinary: John Cassavetes and the Transgressive Impulse in Performance and Style.” 11.2
(Winter 1992): 20-26.
—. “An Interview with Lindsay Crouse.” 12.2 (Winter 1993): 5-28.
—. “Introduction [to Special Issue]: Film Acting.” 12.2 (Winter 1993): 3-4.
—. “The Concept of ‘Excess’ in Film Acting: Notes Toward an Understanding of Non-naturalistic Performance.” 12.2
(Winter 1993): 54-62.
Zylberman, Lior. “On Debajo del mundo: An Early Representation of the Holocaust.” 38.2&3
(Winter/Spring & Summer 2019): 32-44.