Cinema Journal, 38, 1, Fall, 1998

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Front Matter
Darkening Ethan: John Ford's "The Searchers" (1956) from Novel to Screenplay to Screen, 3-24
Arthur M. Eckstein
Abstract: Some film scholars charge that director John Ford was complicit in the savage racism of "The Searchers'" central character, Ethan Edwards. This essay demonstrates that Ford viewed Ethan as a negative, psychologically damaged, and tragic figure. By comparing the changes made from the source novel to the shooting script to the final film, a constant darkening of Ethan's personality is revealed--most of it directly attributable to director John Ford.
Manager, Buddy, Delinquent: "Blackboard Jungle's" Desegregating Triangle, 25-39
Beth McCoy
Abstract: Representing a crucial step in the development of the interracial buddy movie, "Blackboard Jungle" uses a white male "other" to both sidestep segregationist anxiety about racial amalgamation and unite a "classless" black masculinity with a white middle-class one. The film thus emblematizes midcentury American desegregation's liberal and conservative, national and global functions.
Fighting Films: Race, Morality, and the Governing of Cinema, 1912-1915, 40-72
Lee Grieveson
Abstract: The concern to regulate cinematic images of the African American boxer Jack Johnson and the movement of Johnson himself became linked during the years 1912-15 with a broader regulation and definition of motion pictures.
Questions of Chinese Aesthetics: Film Form and Narrative Space in the Cinema of King Hu, 73-97
Héctor Rodríguez
Abstract: The concept of Chinese aesthetics, when carefully defined and circumscribed, illuminates the relationship between narrative space and cultural tradition in the films of King Hu. Chinese aesthetics is largely based on three ethical concerns that may be termed nonattachment, antirationalism, and perspectivism.
Citizen, Communist, Counterspy: "I Led 3 Lives" and Television's Masculine Agent of History, 98-114
Michael Kackman
Abstract: This article discusses the 1950s television espionage program "I Led 3 Lives" in the context of historical realism, Cold War anti-Communism, and domestic gender relations. Based on the real-life exploits of a Communist informer, the show treats Communist subversion as a gendered threat to state and individual authority.
Archival News, 115-124
Brian Taves
Professional Notes, 125-129
Robert Lang, Gregory Martino
Back Matter

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