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Abstract: This article combines a historical investigation with critical analysis of "Suspicion" (1941), a film long undervalued because
of misinformation about its production history. This essay provides a documented account of "Suspicion" from novel to screenplay
to release, considering issues of script adaptation, censorship, responses of preview audiences, and the promotion of Hitchcock
as the movie's third star.
Dina M. Smith
Abstract: Discourses on U.S. postwar foreign policy have found their way into Hollywood fare, particularly Billy Wilder's Cinderella
films, such as "Sabrina" (1954). These films cast the period's gendered, dominant foreign policy discourses in the terms of
the Hollywood Cinderella romance: orphan Europe can be seduced by American assistance.
Abstract: This article reflects on the relationships among space, identity, and cinematic representations by looking at the ways in
which Rio de Janeiro was represented in four Hollywood musicals: "Flying down to Rio" (1933), "That Night in Rio" (1941),
"Road to Rio" (1947), and "Latin Lovers" (1953).
John C. Eisele
Abstract: This article argues for the existence of a genre of films termed the eastern that deals with the Middle East. Subgenres of
the eastern (Arabian nights, sheik, foreign legion, foreign intrigue, and terrorist) vary in the degree of identification
allowed the character of the Arab other, reflecting the political-historical context of their development, yet they share
a number of narrative tropes that function as unifying attributes of the category as a whole.
Kyung Hyun Kim
Abstract: Two recent films made in South Korea exemplify that country's post-traumatic cinema by helping to reconcile painful public
history through personalized perspectives. The depictions in these films of sensitive historical matters--the labor movement
in the 1970s and the Kwangju uprising in 1980--demonstrate the difficulties of recuperating a salient political subject in
a cinema previously disfigured by state violence.
John C. Stubbs
Abstract: In his autobiographical films, Federico Fellini creates a "legend" of himself and films that legend. In 8½ (1963), his portrait
of the artist, Fellini presents the creative process as occurring more or less in Henri Poincaré's four stages: preparation,
incubation, Eureka! moment, and verification, with an emphasis on stages 2 and 3. The harem sequence in 8½ illustrates incubation,
and the ending is the Eureka! moment.
Eric Schaefer, Dan Streible
Paula J. Massood, Sudhir Mahadevan