Cinema Journal, 41, 1, Fall, 2001

This issue is archived at JSTOR. If your institution has a subscription, you can read articles using the below links.

Entire issue in JSTOR

Front Matter
Lesbian Locations: The Production of Lesbian Bar Space in "The Killing of Sister George", 3-27
Kelly Hankin
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.
"Zero Patience", Genre, Difference, and Ideology: Singing and Dancing Queer Nation, 28-39
Christopher Gittings
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.
The Transnational Ga(y)ze: Constructing the East European Object of Desire in Gay Film and Pornography after the Fall of the Wall, 40-62
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.
The Elusive/Ubiquitous Representation of Rape: A Historical Survey of Rape in U.S. Film, 1903-1972, 63-90
Sarah Projansky
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.
Film Stills Methodologies: A Pedagogical Assignment, 91-108
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.
Introducing Students to Film
[Introduction], 109-110
Archival News, 135-143
Eric Schaefer, Dan Streible
Professional Notes, 144-155
Paula J. Massood, Sudhir Mahadevan
Back Matter

Order a single article

Back to UT Press Journals