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Abstract: This article offers a production history of the lesbian bar scene in Robert Aldrich's "The Killing of Sister George" (1968),
the first Hollywood film shot in a lesbian nightclub. Reading this production alongside contemporaneous representations of
lesbian bars, this essay shows how Aldrich's desire for "authenticity" is symptomatic of heterosexual desire to know and penetrate
clandestine lesbian space.
Abstract: John Greyson's "Zero Patience" (1993) de-scribes oppressive inscriptions of homosexuality by appropriating and subverting
hegemonic systems of representation, such as the documentary and the Hollywood musical and horror genres. Drawing on the work
of Louis Althusser, Richard Dyer, Lee Edelman, and Jean-Pierre Oudart, this essay provides an ideological mapping of the film's
queer discursivities and genre codings to consider Greyson's dismantling of the spectral gay other constructed by a white,
male heteronormative and homophobic camera eye.
Nicholas F. Radel
Abstract: Gay pornography employing men from formerly Communist Eastern Europe, including "My Polish Waiter" (1994), can be seen as
acculturation narratives in which the Eastern European acts as a marker in the construction of American gay identities. These
films thus formulate contemporary gay culture at the center of post--Cold War political and economic relations.
Abstract: This article offers a historical analysis of rape in U.S. films from 1903 to 1972, using a critical feminist perspective that
addresses gender, class, race, nationality, and their intersectionality. Despite the fact that the Hollywood Production Code
forbade rape scenes, rape did appear; however, the strategies for representing it shifted. This essay examines the ubiquitous
representations of implicit and explicit rape during this period and argues that rape is a central theme in American cinema.
Barry J. Mauer
Abstract: This essay describes an innovative film studies assignment in which students explore still photography and Hollywood cinema.
The author and his freshman cinema studies students learned by doing--they created their own film stills after Cindy Sherman,
employing frame analysis, semiotics, and Barthes's concept of the "third meaning" along the way.
Frank P. Tomasulo
Greg M. Smith
Eric Schaefer, Dan Streible
Paula J. Massood, Sudhir Mahadevan