This issue is archived at JSTOR. If your institution has a subscription, you can read articles using the below links.
Richard Abel
Abstract: Perhaps the most significant reasons for cinema's emergence as a viable industry in the United States between 1903 and 1906
were the quality and quantity of Pathé's "red rooster" films sold on the American market.
Matthew Bernstein
Abstract: The disputes between Universal Pictures and censors in New York state, Milwaukee, and Atlanta over the banning of "Scarlet
Street" (1945) are symptomatic of Hollywood's uncertain status in post--World War II America.
Annette Brauerhoch
Abstract: An upsetting genre mix of melodrama and horror, "Mommie Dearest" (Frank Perry, 1981) plays out fundamental psychological anxieties
concerning the "realness" of motherly love through the figure of the "unreal" female star.
Nita Rollins
Abstract: In referring to both the upper-class attire of seventeenth-century Holland and contemporary "punk" fashion, Jean-Paul Gaultier's
costumes in "The Cook, the Thief, His Wife, and Her Lover" (1990) ambiguously complement the film's critique of late capitalism.
Dirk Eitzen
Bert Deivert
Abstract: The film resources on the Internet continue to grow; here's a guide to accessing the information available through e-mail,
discussion groups, the World Wide Web, and other forms of virtual communication.
Ben Singer
Robert Lang, Greg Martino