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Virginia Wright Wexman
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.
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.
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.
E. Ann Kaplan, Thomas E. Erffmeyer