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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.
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.
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.
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.
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.
Robert Lang, Gregory Martino