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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.
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.
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.
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.
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.
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).
Eric Schaefer, Dan Streible
Paula J. Massood, Sudhir Mahadevan