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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.
Robin Bates
Abstract: The reception histories of three late 1930s French films--"Katia, Règle du jeu", and "Quai des brumes"--give insight into
film's impact on anxious viewers.
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.
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."
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.
Frank P. Tomasulo
Joanne Hershfield, Anna McCarthy
Frank P. Tomasulo
Stephen Mamber
Stephen Tropiano
Jon Lewis
Robert Lang, Greg Martino