Cinema Journal, 36, 3, Spring, 1997

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Front Matter
Louise Brooks, Star Witness, 3-24
Amelie Hastie
Abstract: Most of what we know about Louise Brooks can be traced back to Brooks herself; Brooks thus becomes a witness of cinema history rather than just a pure cinematic image.
Audiences on the Verge of a Fascist Breakdown: Male Anxieties and Late 1930s French Film, 25-55
Robin Bates
Abstract: The reception histories of three late 1930s French films--"Katia, R├Ęgle du jeu", and "Quai des brumes"--give insight into film's impact on anxious viewers.
Mickey Meets Mondrian: Cartoons Enter the Museum of Modern Art, 56-72
Bill Mikulak
Abstract: The Museum of Modern Art's activities on behalf of animated films carefully balanced an elitist disdain for mass culture against Iris Barry's belief that popular entertainment should be preserved and disseminated as art.
From "Minority Film" to "Minority Discourse": Questions of Nationhood and Ethnicity in Chinese Cinema, 73-90
Yingjin Zhang
Abstract: The "minority film" genre in mainland Chinese cinema and the "minority discourse" in Chinese film criticism destabilize such analytic categories as "ethnicity," "race," and "nation-state."
Men in Leather: Kenneth Branagh's "Much Ado about Nothing" and Romantic Comedy, 91-105
Celestino Deleyto
Abstract: "Much Ado about Nothing" revisits Shakespearean comedy in order to explore the sexual discourse of contemporary romantic comedy, highlighting both cultural changes in gender relationships and the threat of homosexuality.
Film Pedagogy
In Memoriam: Richard deCordova (1956-1996), 127
Jon Lewis
Professional Notes, 128-135
Robert Lang, Greg Martino
Back Matter

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