Cinema Journal, 39, 4, Summer, 2000

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Front Matter
"White Man's Book No Good": D. W. Griffith and the American Indian, 3-26
Gregory S. Jay
Abstract: D. W. Griffith made some thirty short films on Indian subjects during the Biograph years. Yet these mostly melodramatic treatments have received little critical attention. Analyzing films such as "The Call of the Wild", "A Romance of the Western Hills", and "The Massacre", this essay explains how the apparently sympathetic representation of the Native American still adheres to the logic of white supremacy eventually enunciated in "The Birth of a Nation".
The British Culture Industries and the Mythology of the American Market: Cultural Policy and Cultural Exports in the 1940s and 1990s, 27-42
Paul Swann
Abstract: This article compares the marketing and reception of British motion pictures in the U.S. market during the 1940s and 1990s. In both eras, British filmmakers were captivated by the fantasy of conquering the American marketplace. They viewed their movies as a fundamentally new kind of product that made it possible to challenge Hollywood on its own terrain.
Crossing Borders: Time, Memory, and the Construction of Identity in "Song of the Exile", 43-59
Patricia Brett Erens
Abstract: This article analyzes the construction of memory in Ann Hui's "Song of the Exile" as it intersects with issues of cultural identity, national allegory, and women's autobiographies.
Stanley Kwan's "Center Stage": The (Im)possible Engagement between Feminism and Postmodernism, 60-80
Shuqin Cui
Abstract: Analysis of the star image of Ruan Lingyu, constructed in the early Chinese films of the 1930s and rearticulated in Stanley Kwan's "Center Stage" (1992), demonstrates the contradictions between feminism and postmodernism. In addition, when placed in the context of Hong Kong's return to China, the fragmented female image reveals a concern for the uncertain relations between history and representation.
Connecting Film/Media Studies to Student Experiences
Archival News, 102-117
Brian Taves
Professional Notes, 118-128
Paula J. Massood, Anne Morey
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