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Abstract: Mario Camerini (1895-1981) was an Italian film director who directed Vittorio De Sica in romantic comedies in the 1930s. The
thematic links between Camerini's films starring De Sica and De Sica's later neorealist work, such as "The Bicycle Thief,"
reveal a continuity between prewar and postwar Italian cinema usually assumed to be lacking.
Robert von Dassanowsky
Abstract: An examination of James Cameron's "Titanic" (1997) reveals its structural and narrative roots in the "German Bergfilm" genre
and strong relationship to Leni Riefenstahl's "Tiefland" (1945-1954). The popular appeal of "Titanic's Bergfilm" message suggests
gender-role repression and a postmodern American correspondence to the social conditions of Weimar Germany.
Abstract: This article deals with the representation of Middle Eastern Jews and Palestinians in the Israeli cinema of the 1970s and
1980s, specifically the phenomenon of "passing," whereby ethnicity and race are interchangeable in casting and plot. Such
passing can empower Middle Eastern Jews to deconstruct ethnic stereotypes, while excluding Palestinians from participating
in public discourse.
Darrell William Davis
Abstract: This article interrogates Kitano "Beat" Takeshi's "Hana-Bi" ("Fireworks", 1997) for its appropriation of traditional Japanese
iconography and its insertion into a global marketplace for Asian auteur-gangster films.
Abstract: The structure, content, means of expression, philosophical thought, and images in Kurosawa's "Dreams" (1990) offer an unconscious
reflection of the traditional aristocratic "nō" theater in particular, as well as of other Japanese folkloristic and aesthetic
Eric Schaefer, Dan Streible
Paula J. Massood, Anne Morey