Cinema Journal, 23, 1, Fall, 1983

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Front Matter
Editor's Introduction, 2-3
Virginia Wright Wexman
Report from the President, 4-6
Bill Nichols
The Workers' International Relief and the Cinema of the Left 1921-1935, 7-23
Vance Kepley Jr.
Abstract: Workers' International Relief, a Berlin-based socialist organization, worked throughout the 1920s to create an international apparatus to support leftist cinema. Its organization eventually encompassed radical cinema movements in Germany, Russia, America, and elsewhere before it was crushed by the rise of Nazism.
Two-Faced Women: The "Double" in Women's Melodrama of the 1940s, 24-43
Lucy Fischer
Abstract: In the 1940s a particular sub-genre of the Hollywood "woman's picture" was popular--films whose plot centered on twin sisters played by the same actress. Three such films are examined in this essay: "Cobra Woman" (1944) and "Dark Mirror" (1946) directed by Robert Siodmak, and "A Stolen Life" (1946) directed by Curtis Bernhardt. After discussing the narrative of these films in relation to classical theories of the "double" figure in literature and psychoanalysis, the essay argues that the specific configuration of these narratives confirms certain patriarchal notions of womanhood, which bifurcate the female into alleged "feminine" and "masculine" poles.
BDR 1-2-3: Fassbinder's Postwar Trilogy and the Spectacle, 44-56
Howard Feinstein
Abstract: This essay attempts to historicize Fassbinder's BRD (Bundesrepublik Deutschland) Trilogy films, "The Marriage of Maria Braun, Lola", and "Veronika Voss". He stresses the spectacular nature of the image, often embodied in the form of a female protagonist in her encounter with concrete historical forces. In terms of structure, he treats the films' basic generic mode, the melodrama, dialectically, both adhering to, and revising, its norms in their historical development.
Dialogue
Professional Notes, 64-70
E. Ann Kaplan, Thomas E. Erffmeyer
Back Matter

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