Cinema Journal, 35, 3, Spring, 1996

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Front Matter
The Competing Tunes of "Johnny Guitar": Liberalism, Sexuality, Masquerade, 3-18
Jennifer Peterson
Abstract: "Johnny Guitar's" allegorical uses of politics and gender are highly contradictory. The film mounts a "liberal" critique of McCarthyism that is undermined by its binary politics, which merely shift blame onto another 1950s bad object: repression in the form of a sexually pathological woman. This apparent misogyny is tempered by other characters' performance of Joan Riviere's masquerade, which ultimately validates a playful gender mobility.
When History Films (Try to) Become Paintings, 19-33
Charles Tashiro
Abstract: Historical films that evoke famous painting and art styles offer both sensuous spectacle and the satisfaction that results from recognizing famous images. These pleasures result from shared values between filmmakers and audiences.
Class, Caste, and Performance in "Subaltern" Feminist Film Theory and Praxis: An Analysis of "Rudaali", 34-51
Radha Subramanyam
Abstract: "Rudaali" elaborates on the ambivalences that arise in representing the gendered subaltern, particularly the difficulty of balancing feminist consciousness with the popular appeal that is characteristic of many Indian women's feature films.
Gender and the Action Heroine: Hardbodies and the "Point of No Return", 52-71
Jeffrey A. Brown
Abstract: The figure of the tough heroine in early 1990s action films crosses variable gender boundaries; she is a performance of masculinity in "Aliens" and "Terminator" and is the reinscription of a feminine masquerade in "Point of No Return."
Dialogue
Professional Notes, 129-135
Robert Lang, Greg Martino
Back Matter

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