This issue is archived at JSTOR. If your institution has a subscription, you can read articles using the below links.
Abstract: This article asks what is different about a classic narrative film in which the primary "look" motivating the narrative is
between mother and daughter--e.g., when the typical look of desire articulates a visual economy of mother-daughter possession
and dispossession and when the significant viewer of this drama is herself a woman. King Vidor's "Stella Dallas" is thus used
as an interesting test case for many important concepts of recent feminist film theory as well as for feminist thinking about
the formation of the female subject.
Abstract: A method for distinguishing the plot relevance of various kinds of musical numbers is suggested. The contribution of Fred
Astaire to the development of the integrated musical is assessed with emphasis on the remarkable story-telling aspects of
his choreography, and it is concluded that he was probably the first meaningfully to integrate dance into musicals.
Abstract: The first generation of the French avant-garde to become involved with film theory pinned its hopes on the new medium's potential
for reaching all classes of French society. Fernand Léger, Elie Faure, Ricciotto Canudo, and Blaise Cendrars saw their utopian
socialist ambition of strengthening the ties of solidarity among French citizens as being within their reach once the cinema
was allowed to created a "new humanity." By the mid-twenties, however, it was left to Léger alone to pursue this line of inquiry
and to develop a film practice pursuant to its aims. "Ballet Méchanique" was the result.
E. Ann Kaplan