Cinema Journal, 38, 2, Winter, 1999

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Front Matter
Queering the (New) Deal: Lesbian and Gay Representation and the Depression-Era Cultural Politics of Hollywood's Production Code, 3-35
David M. Lugowski
Abstract: Queer representation was common in American cinema during the Great Depression, and the records of Hollywood's Production Code Administration prove that those images were read as such at the time. Queerness was criticized because it refracted traditional masculinity imperiled by the socioeconomic crisis, yet it was essential as entertainment and ideological prop.
Rock 'n' Roll Sound Tracks and the Production of Nostalgia, 36-51
David R. Shumway
Abstract: Music plays a central role in the production of nostalgia in the nostalgia film genre. An analysis of some of these films--especially "The Graduate", "Easy Rider", "American Graffiti", and "The Big Chill"--and their respective music tracks demonstrates that the genre should not be associated with a particular politics.
Including Ourselves: The Role of Female Spectators in Agnès Varda's "Le Bonheur" and "L'Une chante, l'autre pas", 52-71
Ruth Hottell
Abstract: Throughout her career, Agnès Varda has exposed the theory behind her practice and brought previously marginalized groups to the foreground in her films, including spectators in the interpretative, creative process. This article studies the general manifestations of engaged cinematic practices by focusing on two specific films directed by Varda, "Le Bonheur" and "L'Une chante, l'autre pas."
The Soldier, the Girl, and the Dragon: Battles of Meanings in Post-Soviet Cinematic Space, 72-97
Lily Avrutin
Abstract: This essay explores the cinema of simulacra and focuses on the connection between myth and metatextuality in the posttotalitarian cinema of the former Soviet Union, especially in the experimental film-collage "Scorpion's Gardens" (1991), directed by Oleg Kovalov. New theoretical concepts and methods--semantic drama and semantic investigation--are employed in the context of exploring a national cinema as a cultural process.
American Film in Quebec Theater, 98-110
Germain Lacasse
Abstract: Between 1915 and 1930 in Quebec, American films were integrated into local theater: burlesque shows with lectured films; film parody taking the form of monologue, dialogue, or lecture; and even theater texts that borrowed their subjects and narratives from American films. Several authors specialized in the latter genre, and some films were even adapted into two or three theater versions. In fact, this rewriting was another form of appropriation and nationalization of foreign culture narratives.
Archival News, 111-121
Brian Taves
Professional Notes, 122-125
Robert Lang
Back Matter

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