Cinema Journal, 37, 1, Fall, 1997

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Front Matter
Reforming "Jackass Music": The Problematic Aesthetics of Early American Film Music Accompaniment, 3-22
Tim Anderson
Abstract: The musical aesthetics of the nickelodeon changed from a "music hall" formation, where audiences establish a dialogical relationship between music and film, to a more "theatrical" formation that respects the primacy of the on-screen master text.
French Cinema's Other First Wave: Political and Racial Economies of "Cinéma colonial," 1918 to 1934, 23-46
David H. Slavin
Abstract: In Morocco in the early 1920s, film directors and French protectorate officials produced successful films that expressed a policy of indirect colonial rule through realistic settings, spectacular battle scenes, and paternalistic attitudes toward colonial peoples.
OWI Meets the Monsters: Hollywood Horror Films and War Propaganda, 1942 to 1945, 47-65
Rick Worland
Abstract: Certain 1940s horror films were revised to meet the needs of wartime propaganda; "Return of the Vampire" (1943), for instance, marks an intriguing genre variation in which vampire Bela Lugosi surfaces in Britain during the Blitz.
The Ambiguity of Entertainment: Chinese Cinema in Japanese-Occupied Shanghai, 1941 to 1945, 66-84
Poshek Fu
Abstract: The Chinese cinema under Japanese Occupation during World War II has been peripheralized in the official narrative of the history of Chinese cinema, but the films of the Occupation force us to rethink the multivalent, ambiguous relations between politics and film art.
Visual Perception and Motion Picture Spectatorship, 85-100
Trevor Ponech
Abstract: Movie spectatorship involves two kinds of perceptual activities: sensory contact with the cinematic image and epistemic access to the image along with further objects, situations, and events.
Archival News, 101-107
Brian Taves
Professional Notes, 108-116
Robert Lang, Greg Martino
Back Matter

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