This issue is archived at JSTOR. If your institution has a subscription, you can read articles using the below links.
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.
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.
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."
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.
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.