Cinema Journal, 38, 3, Spring, 1999

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Front Matter
"I Do Want to Live!": Female Voices, Male Discourse, and Hollywood Biopics, 3-26
Dennis Bingham
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.
Devouring Creation: Cannibalism, Sodomy, and the Scene of Analysis in "Suddenly, Last Summer", 27-49
Kevin Ohi
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.
Stereotypical Strategies: Black Film Aesthetics, Spectator Positioning, and Self-Directed Stereotypes in "Hollywood Shuffle" and "I'm Gonna Git You Sucka", 50-66
Harriet Margolis
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?
Representing the Spaces of Diaspora in Contemporary British Films by Women Directors, 67-90
Anne Ciecko
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 politics.
"Pōru Rūta"/Paul Rotha and the Politics of Translation, 91-108
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.
Archival News, 109-113
Brian Taves
Professional Notes, 114-120
Robert Lang, Greg Martino
Back Matter

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