Cinema Journal, 24, 1, Fall, 1984

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Front Matter
"Something Else besides a Mother": "Stella Dallas" and the Maternal Melodrama, 2-27
Linda Williams
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.
Fred Astaire and the Integrated Musical, 28-40
John Mueller
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.
Functions of Film: Léger's Cinema on Paper and on Cellulose, 1913-25, 41-64
Richard Brender
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.
Professional Notes, 65-72
E. Ann Kaplan
Back Matter

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