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, 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. 

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.

—. ichael 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.

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.

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.

Munk, Yael. “Coming of Age: The Post-National New Israeli Cinematic Narrative of the Holocaust.” 37.1 (Fall 2017): 22-38.

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.

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.

Newsome, Chad. “Gaucherie and Gesture in Rebecca.” 39.1 (Fall 2019): 3-16.

Nicks, Joan. Rev. of Atom Egoyan, by Carole Desbarts et al. Trans. Brian Holmes. 15.1 (Fall 1995): 75-80.

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

Nolletti, Arthur Jr. Rev. of Japanese Films: A Filmography and Commentary, by Beverly Bare Buehrer. 11.1 (Fall 1991): 57-60.

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.

—. “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.

Odabasi, Eren. “Rediscovering Jewish Identity in Daniel Burman’s The Tenth Man.” 38.2&3

(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.

Owens, Joana. “Tradition and the Individual Artist: Reflections on Modernism in Woody Allen’s Shadows and Fog.” 35.1

(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.

Pagan, Nicholas O. “Tous les matins du monde: Roland Barthes and the Culture of Musicianship.” 22.1 (Fall 2002): 35-44.

Palmer, R. Barton. Rev. of The Classical Hollywood Cinema: Film Style and Mode of Production to 1960, by David Bordwell,

Janet Steiger, and Kristin Thompson. 5.3 (Spring/Summer 1986): 88-91.

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.

Pevere, Geoff. “Middle of Nowhere: Ontario Movies After 1980.” 15.1 (Fall 1995): 9-22.

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.

Plantinga, Carl. “Affect, Cognition, and the Power of Movies.” 13.1 (Fall 1993): 10-29.

Plasse, Marie. “Purple Rain: Rock-Fiction and the Prince Aesthetic.” 6.3 (Spring/Summer 1987): 54-66.

Plater, Edward M. V. “Storyteller in Wim Wender's The Wings of Desire.” 12.1 (Fall 1992): 13-25.

Poague, Leland. Rev. of Interpreting Films: Studies in the Historical Reception of American Cinema, by Janet Staiger. 13.1

(Fall 1993): 87-90.

—. 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.

Price, Brian. “Sontag, Bresson, and the Unfixable.” 26.2 (Winter/Spring 2007): 81-90.

Prince, Stephen. “Zen and Selfhood: Patterns of Eastern Thought in Kurosawa’s Films.” 7.2 (Winter 1988): 4-17.

—. “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

Jun Ichikawa’s Tsugumi.” 18.1 (Fall 1998): 24-37.

—. “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.

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

(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.

Rathgeb, Douglas L. “Faces in the Newsreel: Illuminating Citizen Kane through Woody Allen’s Zelig.” 6.3

(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

(Fall 2014): 103-105.

Rennert, Hal H. “Transformations: Thoughts Regarding Film Title Translations.” 1.1 (Fall 1981): 33-35.

Rhodes, Gary D. “Mockumentaries and the Production of Realist Horror.” 21.3 (Summer 2002): 46-60.

Richie, Donald. “New Japanese Cinema.” 18.1 (Fall 1998): 8-10.

—. “The Men Who Tread on the Tiger’s Tail: Kurosawa and the Theatre.” 20.1 (Fall 2000): 7-9.

Ridgway, Franklin. “‘You Come Back!’; or, Mulholland Trieb. 26.1 (Fall 2006): 43-61.

Rimer, Thomas J. “A note on The Lower Depths (Donzoko) of Kurosawa Akira.” 20.1 (Fall 2000): 46-52.

Risner, Jonathan. “Carlos Reygadas: His Time.” 39.2&3 (Winter/Spring & Summer 2020): 97-113.

—. “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.

Rockett, Will H. “Landscape and Manscape: Reflection and Distortion in Horror Films.” 3.1 (Fall 1983): 19-34.

Rodríguez, Hector. “Organizational Hegemony in the Hong Kong Cinema.” 19.1 (Fall 1999): 107-119.

Rohringer, Margit. “The Making of History: The Different Faces of the So-Called Revolution in Romania.” 26.3

(Summer 2007): 75-87.

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

Romero, Rolando J. “The Postmodern Hybrid: Do Aliens Dream of Alien Sheep?” 16.1 (Fall 1996): 41-52.

Ross, T. J. Rev. of Cinema Texas Program Notes [Univ. of Texas, Austin], 19.3 (Fall, 1980) and 20.2 (Spring 1981). 2.1

(Fall, 1982): 64-65.

—. “Ran and Others: The Twenty-Third New York Film Festival.” 5.2 (Winter 1986): 47-63.

Roth, Paul A. “Virtue and Violence in Peckinpah’s The Wild Bunch.” 7.2 (Winter 1988): 29-42.

Rubinstein, E. “The End of Screwball Comedy: The Lady Eve and The Palm Beach Story.” 1.3 (Spring/Summer 1982): 33-48.

Rueschmann, Eva. “Out of Place: Reading (Post)Colonial Landscapes as Gothic Space in Jane Campion’s Films.” 24.2&3

(Winter/Spring & Summer 2005): 8-21.

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

—. Rev. of German Film and Literature: Adaptations and Transformations, ed. Eric Rentschler. 7.3 (Summer 1988): 66-68.

Sanderson, Jill and Cecil Johnson. “Clint Eastwood’s Last Cowboy: The Bridges of Madison County.” 19.3

(Summer 2000): 41-57.

Sanjek, David. “The Hysterical Imagination: The Horror Films of Oliver Stone.” 12.1 (Fall 1992): 47-60.

—. “It Could Have Been Worse: Robert Altman’s O. C. and Stiggs.” 13.3 (Summer 1994): 39-53.

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.

Schaub, Joseph Christopher. “Generation: The Evolution of Women’s Roles in Two Films by Masayuki Suo.” 18.1

(Fall 1998): 89-100.

Schmertz, Johanna. “On Reading the Politics of Total Recall.” 12.3 (Summer 1993): 34-42.

—. Rev. of Viewing Positions: Ways of Seeing Film, ed. Linda Williams. 16.3 (Summer 1997): 65-67.

Schneider, Steven Jay. “Kevin Williamson and the Rise of the Neo-Stalker.” 19.2 (Winter/Spring 2000): 73-87.

—. “Introduction [to Special Issue], Pt. I: Dimensions of the Real.” 21.3 (Summer 2002): 3-7.

—. “Introduction [to Special Issue], Pt. II: Serial Killer Film and Television.” 22.2 (Winter/Spring 2003): 3-6.

Sears, John. “‘In His Own Image’: Genre, Memory and Doubling in Schwarzenegger's Films.” 22.3 (Summer 2003): 104-114.

Selig, Michael. “The Rhetoric of Documentary.” 9.1&2 (Fall 1989 & Winter 1990): 99-122.

Senzani, Alessandra. “Dreaming Back: Tracey Moffatt’s Bedeviling Films.” 27.1 (Fall 2007): 50-71.

Sharma, Shalja. “Fassbinder’s Ali and the Politics of Subject-Formation.” 14.1&2 (Fall 1994 & Winter/Spring 1995): 104-116.

Sharrett, Christopher. Rev. of Seven, by Richard Dyer. 22.2 (Winter/Spring 2003): 124-125. 

Shary, Timothy. Rev. of Screen Memories, by Harvey R. Greenberg. 14.3 (Summer 1995): 75-77.

—. “Angry Young Woman: The Emergence of the ‘Tough Girl’ Image in American Teen Films.” 19.2 (Winter/Spring 2000): 49-61.

Shea, Chris and Wade Jennings. “Paul Verhoeven: An Interview.” 12.3 (Summer 1993): 3-24.

Shen, Shiao-Ying. “Locating Feminine Writing in Taiwan Cinema: A Study of Yang Hui-shan’s Body and Sylvia Chang’s Siao yu.

20.2&3 (Winter/Spring & Summer 2001): 115-123.

Shepperd, Josh. Rev. of Women, by Annie Leibovitz and Susan Sontag. 26.2 (Winter/Spring 2007): 146-147.

Shichtman, Martin B. “Hollywood’s New Weston: The Grail Myth in Francis Ford Coppola’s Apocalypse Now and

John Boorman’s Excalibur.” 4.1 (Fall 1984): 35-48.

Shokoff, James. Rev. of Five Screenplays by Preston Sturges, ed. Brian Henderson. 8.1 (Fall 1988): 64-65.

—. “A Kockenlocker by Any Other Word: The Democratic Comedy of Preston Sturges.” 8.1 (Fall 1988): 16-28.

Shoos, Diane and Diana George. “Top Gun and Postmodern Mass Culture Aesthetics.” 9.3 (Summer 1990): 21-35.

Simpson, Craig. “John Boorman [an Interview]: Conjurer of Cinema.” 39.2&3 (Winter/Spring & Summer 2020): 33-49.

Simpson, Philip L. “America's Scariest Home Videos: Serial Killers and Reality Television.” 22.2 (Winter/Spring 2003): 103-123.

Sinka, Margit M. “The Viewer as Reader: Herzog’s Stroszek in Film and Prose.” 7.3 (Summer 1988): 27-41.

Sinnerbrink, Robert. “The Act of Witnessing: Cinematic Ethics in The Look of Silence.” 36.2&3

(Winter/Spring & Summer 2017): 31-45. 

Skonieczny, Jason Mark. “Los Angeles Documents the Virtual: Xan Cassavetes and Thom Anderson Between Docutainment

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

Slater, Thomas J. “Milos Forman: An Interview, Part I.” 4.3 (Spring/Summer 1985): 1-15.

—. “Milos Forman, An Interview, Part II.” 5.1 (Fall 1985): 2-16.

Smaill, Belinda. “Three Australian Documentaries: Diaspora and Subjectivity.” 24.2&3 (Winter/Spring & Summer 2005): 22-34.

Smith, Angela Marie. “Impaired and Ill at Ease: New Zealand’s Cinematics of Disability.” 24.2&3

(Winter/Spring & Summer 2005): 64-81.

Smith, Murray. “Cognition, Emotion and Cinematic Narrative.” 13.1 (Fall 1993): 30-46.

Smorodinskaya, Tatiana. “Adapting Chekhovian Mood.” 23.3 (Summer 2004): 73-86.

Snyder, Stephen. “Wim Wenders: The Hunger Artist in America.” 6.2 (Winter 1987): 54-62.

Sobchack, Vivian. “Toward a Phenomenology of Cinematic and Electronic Presence: The Scene of the Screen.” 10.1

(Fall 1990): 50-59.

Spitz, Ellen Handler. “On Interpretation of Film as Dream: The French Lieutenant's Woman.” 2.1 (Fall 1982): 13-29.

—. “Carpe Diem, Carpe Mortem: Reflections on Dead Poets Society.” 11.3 (Summer 1992): 19-31.

Srinivas, S.V. “Stars and Mobilization in South India: What Have Films Got to Do With It?” 25.3 (Summer 2006): 30-47.

Starks, Lisa. “Educating Eliza: Fashioning the Model Woman in the ‘Pygmalion Film.’” 16.2 (Winter/Spring 1997): 44-55.

—. “Michael Maloney: An Interview.” 17.1 (Fall 1997): 79-87.

—. “The Veiled (Hot) Bed of Race and Desire: Parker’s Othello and the Stereotype as Screen Fetish.” 17.1 (Fall 1997): 64-78.

—. “Shakespeare and Film: Derivatives and Variations—An Introduction [of Special Issue].” 17.2 Winter/Spring 1998): 3-7.

Stashowski, Andrea. “Film and Phenomenology: Being-in-the-World of Herzog’s Aguirre, the Wrath of God.” 7.3

(Summer 1988): 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 (1998).” 22.3 (Summer 2003): 69-88.

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

in The Thin Red Line.” 34.2&3 (Winter/Spring & Summer 2015): 36-52.

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

(Fall 1994 & Winter/Spring 1995): 5-13.

Sweeney, Katlin. “Annotated Filmography [Zorro].” 38.1 (Fall 2018): 56-61.

Sweeney, Kevin W. “The Horrific in Sluizer's The Vanishing.” 21.3 (Summer 2002): 99-110.

Tagg, Jessica Davis. “Sound of Silents: Alloy Orchestra [an Interview].” 39.2&3 (Winter/Spring & Summer 2020): 114-130.

Tavares, Mariana Ribeiro. “Helena Solberg [an Interview]: Latin American Films—Made in the USA.” 40.2&3

(Winter/Spring & Summer 2021): 27-37.

Taylor, Greg. “Approaching the Cinema of Silence.” 26.2 (Winter/Spring 2007): 52-71.

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

(Summer 2007): 88-101.

Tcheuyap, Alexie. “African Cinema and the Politics of Adaptation.” 23.3 (Summer 2004): 36-49.

Telotte, J. P. “A Gold Digger Aesthetic: The Depression Musical and Its Audience.” 1.1 (Fall 1981): 18-24.

—. “Val Lewton’s Children: Horror, Innocence and Maturity.” 1.2 (Winter 1982): 46-61.

—. “Dark Patches: Structures of Absence in Lewton’s Cat People.” 2.1 (Fall 1982): 40-59.

—. Rev. of Dance in the Hollywood Musical, by Jerome Delameter. 2.2 (Winter 1983): 62-64.

—. Rev. of About John Ford, by Lindsay Anderson. 4.1 (Fall 1984): 64-67.

—. Rev. of Dark Cinema: American Film Noir in Cultural Perspective, by John Tuska. 5.1 (Fall 1985): 62-64.

—. “Christopher Miles: An Interview.” 5.2 (Winter 1986): 2-18.

—. “Film and/as Technology: An Introduction [to Special Issue].” 10.1 (Fall 1990): 3-8.

—. “Annual Bibliography of Film Studies, 1982.” 2.3 (Spring/Summer 1983): 33-59.

—. ”Annual Bibliography of Film Studies, 1983.” 3.3 (Spring/Summer 1984): 24-54.

—. “Annual Bibliography of Film Studies, 1984.” 4.3 (Spring/Summer 1985): 29-30.

—. “Annual Bibliography of Film Studies, 1985.” 5.3 (Spring/Summer 1986): 60-79.

—. “Annual Bibliography of Film Studies, 1986.” 6.3 (Spring/Summer 1987): 67-89.

—. “Annual Bibliography of Film Studies, 1987.” 7.3 (Summer 1988): 42-65.

—. “Annual Bibliography of Film Studies, 1988.” 8.3 (Summer 1989): 40-69.

—. “Annual Bibliography of Film Studies, 1989.” 9.3 (Summer 1990): 56-88.

—. “Annual Bibliography of Film Studies, 1990.” 10.3 (Summer 1991): 49-76.

—. “Annual Bibliography of Film Studies, 1991.” 11.3 (Summer 1992): 53-80.

—. “Annual Bibliography of Film Studies, 1992.” 12.3 (Summer 1993): 53-79.

—. “Annual Bibliography of Film Studies, 1993.” 13.3 (Summer 1994): 62-85.

—. “Annual Bibliography of Film Studies, 1994.” 14.3 (Summer 1995): 51-74.

—. “Annual Bibliography of Film Studies, 1995.” 15.3 (Summer 1995): 54-84.

—. “Annual Bibliography of Film Studies, 1996.” 16.3 (Summer 1996): 68-96.

—. “Annual Bibliography of Film Studies, 1997.” 17.3 (Summer 1997): 69-100.

—. “Annual Bibliography of Film Studies, 1998.” 18.3 (Summer 1998): 58-98.

—. “Annual Bibliography of Film Studies, 1999.” 19.3 (Summer 2000): 67-96.

—. “Annual Bibliography of Film Studies, 2000.” 21.1 (Fall 2001): 43-71.

—. “Annual Bibliography of Film Studies, 2001.” 22.1 (Fall 2002): 54-81.

—. “Annual Bibliography of Film Studies, 2002.” 23.1 (Fall 2003): 51-78.

—. “Annual Bibliography of Film Studies, 2003.” 24.1 (Fall 2004): 82-107.

—. “Annual Bibliography of Film Studies, 2004.” 25.1 (Fall 2005): 76-95.

—. “Annual Bibliography of Film Studies, 2005.” 26.1 (Fall 2006): 66-94.

—. “Annual Bibliography of Film Studies, 2006.” 27.1 (Fall 2007): 110-136.

—. “Annual Bibliography of Film Studies, 2007.” 28.1 (Fall 2008): 79-109.

—. “Annual Bibliography of Film Studies, 2008.” 29.1 (Fall 2009): 45-74.

—. “Annual Bibliography of Film Studies, 2009.” 30.1 (Fall 2010): 66-98.

—. “Annual Bibliography of Film Studies, 2010.” 31.1 (Fall 2011): 70-101.

—. “Annual Bibliography of Film Studies, 2011.” 32.1 (Fall 2012): 61-96.

—. “Annual Bibliography of Film Studies, 2012.” 33.1 (Fall 2013): 64-104.

—. “Annual Bibliography of Film Studies, 2013.” 34.1 (Fall 2014): 61-99.

—. “Annual Bibliography of Film Studies, 2014.” 35.1 (Fall 2015): 56-98.

—. “Annual Bibliography of Film Studies, 2015.” 36.1 (Fall 2016): 67-98.

—. “Annual Bibliography of Film Studies, 2016.” 37.1 (Fall 2017): 52-92.

—. “Annual Bibliography of Film Studies, 2017.” 38.1 (Fall 2018): 65-105.

—. “Annual Bibliography of Film Studies, 2018.” 39.1 (Fall 2019): 48-86.

Testa, Bart. “Technology’s Body: Cronenberg, Genre, and the Canadian Ethos.” 15.1 (Fall 1995): 38-56.

Thiessen, Randy. ”Deconstructing Masculinity in Porky’s.” 18.2 (Winter/Spring 1998): 64-74.

Thompson, Currie K. “Against All Odds: Argentine Cinema, 1976-1991.” 11.3 (Summer 1992): 32-45.

—. “Remaking Buenos Aires: Argentine Film from Tango to Kilómetro 111.” 21.1 (Fall 2001): 24-30.

Thompson, Frank. Rev. of The Light on Her Face, by Joseph Walker and Juanita Walker. 5.1 (Fall 1985): 65-66.

Tian, Yu. “From Red Sorghum to Devils on the Doorstep: Conceptual Evolution in Chinese Film Adaptation.” 23.3

(Summer 2004): 64-72.

Tibbetts, John C. “Alfred Hitchcock and the ‘Call’ of Mary Rose.” 36.1 (Fall 2016): 11-38.

Tiwary, Ishita. “Screening Conjugality: The Affective Infrastructure of the Marriage Video.” 35.3 (Summer 2016): 19-34. 

Toles, George. “From Archangel to Mandragora in Your Own Backyard: Collaborating with Guy Maddin.” 18.2

(Winter/Spring 1998): 52-63.

Tomasulo, Frank P. “The Intentionality of Consciousness: Subjectivity in Resnais's Last Year at Marienbad.” 7.2

(Winter 1987): 58-71.

Torres, Carlos Velasquez. “From Zorro to Shrek: Hollywood's Vision of the Spanish Through the Twentieth Century.” 38.1

(Fall 2018): 37-44.

Tortora, Margherita A. “Visions of Puerto Rico and Mexico Through the Lens of Sonia Fritz Macías [an Interview].”

40.2&3 (Winter/Spring & Summer 2020): 38-47.

Tryon, Charles. Rev. of The Subject of Documentary, by Michael Renov. 26.3 (Summer 2007): 102-104.

Turner, Jack. “The Passenger, Lacan, and the Real.” 9.1&2 (Fall 1989 & Winter 1990): 53-66.

Tutt, Ralph. “Realism and Artifice in Jean Renoir's The Southerner.” 8.2 (Winter 1989): 36-55.

Ufaz, Ohad. “A Personal Call for Public Justice: Documentary Testimony from a Levinasian Perspective.” 36.2&3

(Winter/Spring & Summer 2017): 61-74.

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. 

Vacche, Angela Dalle. ”Murnau's Nosferatu: Romantic Painting as Horror and Desire in Expressionist Cinema.” 14.3

(Summer 1995): 25-36.

Valenti, Peter. Rev. of A History of Narrative Film, by David A. Cook. 2.3 (Spring/Summer 1983): 65-68.

—. Rev. of Religion in Film, eds. John R. May and Michael Bird. 3.1 (Fall 1983): 59-60.

Varnell, Margaret A. “A Note on Richard III (1912).” 17.1 (Fall 1997): 88-90.

Vernon, Kathleen M. “Review Essay: Recent Books on Spanish Cinema in the 1990s: A Global Perspective.” 21.2

(Winter/Spring 2002): 90-100.

Vickers, Jon. “Introduction [to Special Issue]: Interviews from Indiana University Cinema.” 39.2&3

(Winter/Spring & Summer 2020): 4-5. 

—. “Ana Lilly Amirpour: Her Way [an Interview].” 39.2&3 (Winter/Spring & Summer 2020): 66-79.

—. “Alexandre O. Philippe: A Filmmaker’s Filmmaker [an Interview].” 39.2&3 (Winter/Spring & Summer 2020): 80-96.

—. “Rage and Glory: The Films of Israeli Filmmaker Avi Nesher [an Interview].” 40.1 (Fall 2020): 3-17.

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.

Volnovich, Yamila. “The Cuban ‘Sugar Curtain’ Deconstructed in the Cinema of Camila Guzmán Urzúa [an Interview].” 40.2&3

(Winter/Spring & Summer 2021): 72-79.

Von Mueller, Eddy. “Naked Swords: The Zen Warrior Tradition and the Intertextual Odyssey of the Nameless Ronin

in Seven Samurai, Yojimbo, and Sanjuro.” 20.1 (Fall 2000): 53-67.

von Son, Carlos. Rev. of Hispanics and United States Film: An Overview and Handbook, by Gary D. Keller. 16.1 (Fall 1996): 64-65.

Walker, Johnny. “Reliability, Quality, and a Reputation for Great Entertainment: The Promotional Strategies of

Britain’s Early Video Distributors, Beyond the Video Nasties.” 35.3 (Summer 2016): 35-49. 

Walsh, Michael. “Returns in the Real: Lacan and the Future of Psychoanalysis in Film Studies.” 14.1&2

(Fall 1994 & Winter/Spring 1995): 22-32.

Ward, Carol. Rev. of The Marx Brothers: A Bio-Bibliography, by Wes Gehring. 8.2 (Winter 1989): 66-68.

—. Rev. of Australian Movies and the American Dream, by Glen Lewis. 9.1&2 (Fall 1989 & Winter 1990): 123-124.

Watts, Linda S. Rev. of The Man Who Would Marry Susan Sontag, and Other Intimate Portraits of the Bohemian Era,

by Edward Field. 26.2 (Winter/Spring 2007): 142-145.

—. Rev. of Female Icons: Marilyn Monroe to Susan Sontag, by Carl Rollyson. 26.2 (Winter/Spring 2007): 142-145.

West, Mark. Rev. of The American Animated Cartoon, by Gerald Peary and Danny Peary. 1.1 (Fall 1981): 46-47.

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

Identity of Film Noir.” 22.3 (Summer 2003): 34-45.

West, Patrick. “Democratic Corporealities of Love: The Architectural Cinema and Eroticized Publics of Pauline Kael.” 35.1

(Fall 2015): 47-55. 

Westphal, Richard. “When the Screaming Stops: A Look at Blow Out.” 2.1 (Fall 1982): 30-39.

White, Susan. “I Burn for Him: Female Masochism and the Iconography of Melodrama in Stahl’s Back Street (1932).” 14.1&2

(Fall 1994 & Winter/Spring 1995): 59-81.

Whiteman, David. “The Evolving Impact of Documentary Film: Sacrifice and the Rise of Issue-Centered Outreach.” 26.3

(Summer 2007): 62-74.

Willem, Linda M. “Saura and Storaro: A Professional Friendship.” 29.2 (Winter/Spring 2010): 111-117.

[Interview on Vittorio Storaro].

Williams, Bruce. “Slippery When Wet: En-Sexualized Transgressions in the Films of Pedro Almodovar.” 14.3

Summer 1995): 3-13.

—. “‘Life is Very Precious, Even Right Now’: (Un)Happy Camping in the New German Cinema.” 16.3 (Summer 1997): 51-64.

—. “Something Borrowed, Something Blue: Robert Van Ackeren’s Deutschland Private and the Economics of Eroticism.” 22.1

(Fall 2002): 45-53.

Williams, G. Christopher. “Factualizing the Tattoo: Actualizing Personal History Through Memory in Christopher Nolan’s

Memento.” 23.1 (Fall 2003): 27-36.

Williams, Tony. “Hong Kong Social Horror: Tragedy and Farce in Category 3.” 21.3 (Summer 2002): 61-71.

Winston, Brian. “‘Le Rapport de Face a Face’ in Digital Documentary.” 36.2&3 (Winter/Spring & Summer 2017): 12-30. 

Wolfe, Charles. Rev. of An Examination of Narrative Structure in Four Films of Frank Capra, by Brian Rose. 1.2

(Winter 1982): 75-77.

Wong, Cindy Hing-Yuk. “Cities, Cultures and Cassettes: Hong Kong Cinema and Transnational Audiences.” 19.1

(Fall 1999): 87-106.

Wood, Alden Sajor. “From Hollywood Studios to Media Conglomerates—Allegorizing Post-Fordist Restructuring in the 1980s.”

36.1 (Fall 2016): 39-51.

Wood, Arnold. “Dana Preu on Gal Young Un: An Interview.” 3.3 (Spring/Summer 1984): 2-15.

Wood, Gerald. “Horton Foote: An Interview.” 10.3 (Summer 1991): 3-12.

Wood, Robert E. “Cloven Hoofer: Choreography as Autobiography in All That Jazz.” 6.2 (Winter 1987): 43-53.

—. 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.

—. Rev. of Dreams of Darkness, by J. P. Telotte. 5.3 (Spring/Summer 1986): 84-87.

—. Rev. of The Living and the Undead, by Gregory A. Waller. 5.3 (Spring/Summer 1986): 84-87.

—. “Somebody Has to Die: Basic Instinct as White Noir.” 12.3 (Summer 1993): 43-51.

—. Rev. of Psycho Paths: Tracking the Serial Killer Through Contemporary American Film and Fiction, by Philip L. Simpson. 22.2

(Winter/Spring 2003): 126-127.

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

(Winter/Spring & Summer 2001): 147-158.

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.