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Abstract: Complicating cherished assumptions about film biography, the fifties, and female spectatorship, "I Want to Live!" finds male
filmmakers identifying with a female protagonist in opposition to the male institutions of the media and the law in a work
that aligns melodrama with realism.
Abstract: Exploring the erotics of baiting in "Suddenly, Last Summer" (1959), this essay examines the figural links among madness, cannibalism,
sodomy, lobotomy, the talking cure, and visual and narrative structure in the film. It questions the political and erotic
stakes involved in the film's use of the spectacle of gay male sex as a disruption to its narrative of a psychoanalytic cure
and as a fuel and figure for cinematic absorption.
Abstract: Writers/directors Robert Townsend and Keenan Ivory Wayans both use a strategy of self-directed stereotypes in "Hollywood Shuffle"
and "I'm Gonna Git You Sucka," their initial contributions to the surge of African American feature filmmaking that came out
of Hollywood in the late 1980s. Wayans attacks stereotyping as process, presented by the media as a means of conceptualizing
the world, whereas Townsend attacks specific, individually expressed stereotypes more than the process of stereotyping itself.
If using self-directed stereotypes is accepted as a valuable contribution to a developing aesthetic of African American cinema,
then what do these two films tell us about differences in how the strategy may be employed?
Abstract: This essay examines the ways in which two important recent narrative feature films by British women directors, "Bhaji on the
Beach" and "Welcome II the Terrordome," challenge conceptions of "black" British filmmaking, cultural identities, and racial
Abé Mark Nornes
Abstract: British documentary filmmaker and author Paul Rotha had a great influence on filmmakers in prewar Japan. In fact, translations
of his book "Documentary Film" were the "Bible" for both militarist and leftist documentarists and critics. Various translations
of Rotha's book, however, displayed the marks of self-imposed censorship or misreading and changed his socialist leanings
into support for the imperial state of Japan. Such cross-cultural discourse allowed the Rotha volume to become the site of
politicized thought in the Japanese film community.
Robert Lang, Greg Martino