Cinema Journal, 41, 2, Winter, 2002

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Front Matter
The Ambiguous Aura of Hollywood Stars in Avant-Garde Found-Footage Films, 3-18
William C. Wees
Abstract: When working with footage of Hollywood stars, avant-garde filmmakers subject these stars' images to a complex dialectic of critique and admiration, analysis and appreciation, deconstruction and reconstruction. The resulting images invest the stars' original auras with a new, more ambiguous significance.
The Staging of the Bourgeois Imaginary in "The Cook, the Thief, His Wife, and Her Lover" (1990), 19-40
Ruth D. Johnston
Abstract: Against a backdrop of theorizations of the bourgeois subject and the grotesque body, abjection, and carnival, this essay analyzes the function of the "demarcating imperative" manifested in the spatial and temporal structures of "The Cook, the Thief, His Wife, and Her Lover" (1990) and relates these to its spectacles of disgust on the one hand and to the critique of consumer society on the other.
Kieślowski and the Antipolitics of Color: A Reading of the "Three Colors" Trilogy, 41-66
Paul Coates
Abstract: This essay aligns the emphasis on color in Krzysztof Kieślowski's "Three Colors" trilogy with his explicit renunciation of political discourse. The trilogy undermines the bipolarity so often associated with such discourse through the antithetical meanings its narratives associate with the colors and through the existentialism that propels each of the principal characters unexpectedly from one position to its opposite.
Godard's "Comment Ça Va" (1976): From Information Theory to Genetics, 67-83
Kevin J. Hayes
Abstract: Despite its poignancy and its wide-ranging cultural implications, "Comment Ça Va" (1976) remains one of Jean-Luc Godard's least-known films. Using technological theories of communication and applying new discoveries in genetics, Godard tells a self-reflexive story about a newspaperman's effort to make a video about the newspaper business and to make contact with his son that amounts to a virtual meta-essay on the communication process.
An Excursion into the Lower Depths: Hollywood, Urban Primitivism, and "St. Louis Blues," 1929-1937, 84-108
Peter Stanfield
Abstract: This essay considers how Hollywood presented the song "St. Louis Blues" in a number of movies during the early to mid-1930s. It argues that the tune's history and accumulated use in films enabled Hollywood to employ it in an increasingly complex manner to evoke essential questions about female sexuality, class, and race.
Sounding Images in Silent Film: Visual Acoustics in Murnau's "Sunrise", 109-131
Melinda Szaloky
Abstract: Silent cinema has an acoustic dimension that originates in the image and can be materialized through its plastic compositions. The twofold aim of this essay is to weigh several theories about how spectators comprehend "visual sounds" and to illustrate the masterful use of visual acoustics in F. W. Murnau's "Sunrise" (1927).
Archival News, 132-141
Eric Schaefer, Dan Streible
Professional Notes, 142-151
Paula J. Massood, Sudhir Mahadevan
Back Matter

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