Cinema Journal, 39, 3, Spring, 2000

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Front Matter
Oscar Micheaux's "Body and Soul" and the Burden of Representation, 3-29
Pearl Bowser, Louise Spence
Abstract: This essay explores Oscar Micheaux's silent drama "Body and Soul" (1925) and some of the critical discourses of the period. It also addresses the politics of racial identity and the quest for racial unity in a period when the class structure within the African American community was becoming more stratified.
Lester Walton's "Écriture Noir": Black Spectatorial Transcodings of "Cinematic Excess", 30-50
Anna Everett
Abstract: For many scholars and students of American film history, the black press campaign against D. W. Griffith's "The Birth of a Nation" (1915) signifies the founding moment of significant black writing on the cinema. This essay investigates the pre-Birth film criticism of "New York Age" columnist Lester A. Walton so as to challenge that misconception and recover a lost legacy of early black film spectatorship.
Sound Strategies: Lang's Rearticulation of Renoir, 51-65
Tricia Welsch
Abstract: Fritz Lang directed "Scarlet Street" in a triangulated response to his previous film, "The Woman in the Window", and to Jean Renoir's "La Chienne", which it explicitly remakes. The ambivalent relation among the films is most clear in Lang's treatment of sound, which reverses Renoir's practice.
Cowboys and Free Markets: Post-World War II Westerns and U.S. Hegemony, 66-91
Stanley Corkin
Abstract: This essay looks at the historical phenomenon of the western as a focal genre in postwar America. Through discussion of Howard Hawks's "Red River" and John Ford's "My Darling Clementine", it shows how the western was well suited to convey important ideological rationales for postwar U.S. foreign policy, including the inevitability of American expansion and the strategies for hegemony that guided the Truman administration's foreign policy.
"A Struggle of Contending Stories": Race, Gender, and Political Memory in "Forrest Gump", 92-115
Jennifer Hyland Wang
Abstract: Forrest Gump revises popular memories of the 1960s through its representations of gender and race and its visualization of postwar history. This essay examines how political conservatives used the film to articulate a traditional version of recent American history and to define their political ground in the 1994 congressional elections.
Archival News, 116-126
Brian Taves
Professional Notes, 127-134
Paula J. Massood, Anne Morey
Back Matter

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