Cinema Journal, 23, 2, Winter, 1984

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Front Matter
Report from the President, 2-3
Bill Nichols
The Absent Presence: Stendhal in Bertolucci's "Prima della rivoluzione", 4-28
T. Jefferson Kline
Abstract: Although Bertolucci alludes to Stendhal's "The Charterhouse of Parma" as the source for "Before the Revolution", the film appears unfaithful to the novel's plot. Bertolucci uses the issue of stylistic adaptation as the fulcrum of a cinematic revolution parallel to Godard's anti-Bazanian work of the same period.
"At Last I Can Tell It to Someone!": Feminine Point of View and Subjectivity in the Gothic Romance Film of the 1940s, 29-40
Diane Waldman
Abstract: This paper focuses on the Gothic romance film of the 1940s, its place within the Gothic genre and the relationship between its textual variations and the historical situation of American women. For although the Gothic mode has always permitted the articulation of feminine fear, anger, and distrust of the patriarchal order, the films of the war and post-war period place an unusual emphasis on the affirmation of feminine perception, interpretation, and lived experience.
Combination and Litigation: Structures of U.S. Film Distribution, 1896-1917, 41-72
Janet Staiger
Abstract: This new account of early US filmmaking argues that the Patents Company and independents operated similarly. Both factions formed distribution combinations, organizing efficient and profitable alliances to secure an economic dominance. Furthermore, Patent members did not cling to their alliance when it was threatened but sought competitively viable options.
Dialogue
Professional Notes, 77-82
E. Ann Kaplan, Thomas E. Erffmeyer
Back Matter

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