Cinema Journal, 25, 2, Winter, 1986

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Front Matter
President's Report, 3
Vivian Sobchack
The Metafictional Hitchcock: The Experience of Viewing and the Viewing of Experience in "Rear Window" and "Psycho", 4-19
R. Barton Palmer
Abstract: Hitchcock's later American films are metafictional in that they connect closely to the narrative/representational traditions of classic film realism while, simultaneously, critiquing those traditions. "Rear Window" makes a hero of the spectator who violates his or her contract with the fiction consumed, while "Psycho," a radical "film noir," defeats generic expectations and refuses the operation of textual closure/disclosure.
Lost Lost Lost over "Lost Lost Lost", 20-34
Scott MacDonald
Abstract: This introduction to Jonas Mekas's epic "diary" "Lost Lost Lost" sees the film as a tightly constructed experimental narrative which enacts a triadic pattern familiar from classic literature: expulsion from Eden, the dark night of the soul, and rebirth. Mekas began collecting the footage upon his arrival in the United States in 1949, assuming it would become part of a documentary about the Lithuanian displaced persons community in Brooklyn; but when he finally edited the footage in 1975, it focused on his discovery/creation of the aesthetic homeland which had enabled him to recover from the loss of his native land.
"Getting Physical": Text/Context/Reading and the Made-for-Television Movie, 35-50
Laurie Jane Schulze
Abstract: This essay indicates the general shape of the made-for-TV movie that emerges from a consideration of the economic conditions of its production, and examines a recent example of the form, "Getting Physical," a film which ostensibly promotes a sub-cultural figure that would seem to threaten dominant, patriarchal values: the female competitive bodybuilder.
Crossing Wavelengths: The Diegetic and Referential Imaginary of American Commercial Television, 51-64
Mimi White
Abstract: This article offers a reading of American television that approaches the medium in terms of dispersed mechanisms of continuity. It analyzes the fascination and hold of television in general, in its multiple textuality, for and on its viewers with each of their distinctive patterns of watching.
Dialogue
Professional Notes, 68-73
Mirella Jona Affron
Back Matter

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