Cinema Journal, 39, 2, Winter, 2000

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Front Matter
"We Do Not Ask You to Condone This": How the Blacklist Saved Hollywood, 3-30
Jon Lewis
Abstract: The Hollywood blacklist evolved out of and impacted on a complex set of economic conditions. This essay focuses on the ways in which certain collusive strategies put in place to control the industry workforce in 1947 enabled the studios to regain control over the entertainment marketplace after the Second World War.
Blaxploitation Horror Films: Generic Reappropriation or Reinscription?, 31-50
Harry M. Benshoff
Abstract: The intersection of racial identity and narrative structure in blaxploitation horror films produced a potential critique of both social and generic racism, as well as a significant variation in how the genre classically figures normality and monstrosity.
Finding Ourselves on a "Lost Highway": David Lynch's Lesson in Fantasy, 51-73
Todd McGowan
Abstract: The difficulties in watching David Lynch's "Lost Highway" stem from the unique way in which the film distinguishes between desire and fantasy. Whereas most films depict a seamless continuity between the two impulses, "Lost Highway" separates them, revealing how fantasy serves as a respite from the ambiguity of desire.
The Road Movie Rediscovers Mexico: Alex Cox's "Highway Patrolman", 74-99
David Laderman
Abstract: By focusing on genre, landscape, and gender in relation to Mexican national identity, a close reading of Alex Cox's 1992 Mexican road movie, "Highway Patrolman (El patrullero)," reveals the complexities and contradictions of contemporary transnational, independent filmmaking.
"The "Mother" of All Battles": "Courage under Fire" and the Gender-Integrated Military, 100-120
Susan E. Linville
Abstract: "Courage Under Fire" (1996) goes a long way toward affirming the goal of gender and racial integration in the contemporary armed services, but it is also defined by images, elisions, and subtexts that point equivocally to other historical and cultural vantage points, perspectives that erode and destabilize the film's overtly forward-looking vision.
Archival News, 121-130
Brian Taves
Professional Notes, 131-139
Robert Lang, Anne Morey
Back Matter

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