Cinema Journal, 36, 2, Winter, 1997

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Front Matter
"Draped Crusaders": Disrobing Gender in "The Mark of Zorro", 3-16
Catherine Williamson
Abstract: "Secret identity" adventure narratives such as "The Mark of Zorro" invoke queer textuality when one character runs the spectrum of gender identities. Such queerness is always contained, however, by the text's conservative political agenda.
Performance and Persona in the U.S. Avant-Garde: The Case of Maya Deren, 17-40
Maria Pramaggiore
Abstract: Maya Deren's persona illustrates the similarities between practices of stardom in mainstream and alternative film, and Deren's use of film as a performative art highlights the relationship between film images and persona.
The Obscene Seen: Spectacle and Transgression in Postwar Burlesque Films, 41-66
Eric Schaefer
Abstract: In their original historical context, burlesque films of the period 1945 to 1960 displayed excess, parody, polymorphous desire, and gender fluidity, qualities that challenged normative gender roles and restrictions on sexual expression.
Space, Place, and Spectacle: The Crisis Cinema of John Woo, 67-84
Tony Williams
Abstract: The post-1986 Hong Kong cinema of John Woo is an apocalyptic crisis cinema, an urban vision forming part of a "legitimation crisis" that involves an aesthetic of political, historical, and cultural density.
The Ideological Impediment: Feminism and Film Theory, 85-99
Jennifer Hammett
Abstract: Feminist film theory has too long equated representation with alienation and error, causing it to become embroiled unnecessarily in questions of epistemology. The struggle should not be over representation, but over representations; what is needed to challenge patriarchy is not an altered epistemological relation to the real, but altered representations.
Film Pedagogy
Professional Notes, 120-127
Robert Lang, Greg Martino
Back Matter

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