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.
Bailey, John. "Vittorio Storaro: A Lifetime in Light.: 29.2 (Winter/Spring 2010): 44-47.
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.
Byabartta, Debarati. "Welcome, Mr. Marshall! versus Horn of Plenty: Transcendence of Berlanguian Humor." 39.1 (Fall 2019):
31-44.
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.
---. "Introduction: Vittorio Storaro, Cinematographer as Painter with Light and Motion." 29.2 (Winter/Spring 2010): 3-7.
---, Ed. "Storaro and Longoni on Caravaggio (cont'd)." 29.2 (Winter/Spring 2010): 38-43.
---, 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.
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.
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.
Jones Elizabeth. "Films That 'Never Transcend the Realm of Art'." 3.2 (Winter 1984): 20-33.
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