Cinema Journal, 20, 2, Spring, 1981

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Front Matter
The Demise of Kinemacolor: Technological, Legal, Economic, and Aesthetic Problems in Early Color Cinema History, 3-14
Gorham Kindem
Abstract: The attempt by inventors and innovators to stimulate industry adoption and eventual conversion or to survive as exclusive suppliers of technologically innovative feature films is often complicated by technological deficiencies, legal problems relevant to popular demand, and difficulties in maintaining sufficient product supply. The case of Kinemacolor is representative of the problems encountered by other types of motion picture technology throughout film history.
The Movie Palace and the Theatrical Sources of Its Architectural Style, 15-37
Charlotte Herzog
Abstract: The integration of the functional and iconographic motifs of the earliest movie locales in the single context of the movie palace helped to define the appeal of the movies in the 1920s. It also identified the social function of the movie theater as a tool for smoothing over class distinctions apparent in the earliest showplaces by appealing to a more general family and emerging semi-classless audience.
An Innocent Eye? The Career and Documentary Vision of Georges Rouquler up to 1945, 38-62
John H. Weiss
Abstract: Georges Rouquier, whose earlier attempts to pursue a filmmaking career were thwarted by the coming of sound, found a new opportunity when the Vichy regime decided to sponsor documentaries. His films made during or immediately after the Occupation were not, however, shaped by Vichy propaganda but by the situation of the Occupation itself and by widely-shared images of French rural life.
Film Madness: The Uncanny Return of the Repressed in Polanskl's "The Tenant", 63-73
Linda Williams
Abstract: Within the tradition of films about madness Polanski's "The Tenant" belongs neither to the subjective and "unexplained" horror tradition of films like "The Cabinet of Dr. Caligari," nor to the more objective, "explained" tradition of films like "Psycho," but to a more surrealist tradition of films which "understand" madness from within the rules of its own form of discourse. It is this aesthetic appropriation of the form, and not just the content, of madness--the precise logic of Trelkovsky's paranoid associations--that leads finally to an exploration of the problematic unity of a perpetually identifying "self."
Back Matter

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