Cinema Journal, 40, 2, Winter, 2001

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Front Matter
From Feminine Masquerade to Flâneuse: Agnès Varda's Cléo in the City, 3-16
Janice Mouton
Abstract: In Agnès Varda's "Cléo" from 5 to 7 (1961), the protagonist's transformation from feminine masquerade to flâneuse occurs as a result of her involvement with a city, specifically Paris. Positing the possibility of a female flânerie, this essay establishes a connection between Agnès Varda and the writers George Sand and Virginia Woolf, thereby showing how a woman walker--a flâneuse--lays claim to subjectivity.
The Big Picture: Theatrical Moviegoing, Digital Television, and beyond the Substitution Effect, 17-34
Kevin J. Corbett
Abstract: This article traces the cultural history of the movie theater, revealing that both cultural forces and industrial imperatives are likely to preserve the theater, despite the threat that it will be "substituted for" by digital television, with its promise of filmlike screen size and picture/sound quality.
Distribution, the Transient Audience, and the Transition to the Feature Film, 35-56
Michael Quinn
Abstract: This historical essay argues that early feature-length films were not simply a new production trend; they represented a series of developments in distribution and exhibition based on differentiation. Indeed, the American film industry of the early 1910s followed several competing models of distribution in an effort to differentiate between the uniqueness of the feature and the standardization fostered by the short-subject program.
"Place" and the Modernist Redemption of Empire in "Black Narcissus" (1947), 57-77
Priya Jaikumar
Abstract: The coherence of an imperial narrative is predicated on the continuation of the colonial place as a backdrop. In Michael Powell and Emeric Pressburger's "Black Narcissus" (1947), the fictional Himalayan community of "Mopu" becomes central enough to impede assumptions projected onto it. However, the threat of narrative collapse is averted by a visibly modernist preoccupation with the (imperial) self and the film's redemptive theme.
"Memoria Dextera Est": Film and Public Memory in Postwar Germany, 78-97
Olaf Hoerschelmann
Abstract: This article investigates the struggles over public memory in postwar Germany. The representation of the Red Army Fraction (RAF) terrorist movement indicates the power of official memory. However, examples from the New German Cinema demonstrate that the creation of countermemories remained possible even at the peak of terrorism in the "German Autumn" of 1977.
Archival News, 98-105
Eric Schaefer, Dan Streible
Professional Notes, 106-115
Paula J. Massood, Anne Morey
Back Matter

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