Cinema Journal, 41, 4, Summer, 2002

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Volume Information
Front Matter
Before and after the Fact: Writing and Reading Hitchcock's "Suspicion", 3-26
Rick Worland
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.
Global Cinderella: "Sabrina" (1954), Hollywood, and Postwar Internationalism, 27-51
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.
Hollywood Musicals and the Invention of Rio de Janeiro, 1933-1953, 52-67
Bianca Freire-Medeiros
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).
The Wild East: Deconstructing the Language of Genre in the Hollywood Eastern, 68-94
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.
Post-Trauma and Historical Remembrance in Recent South Korean Cinema: Reading Park Kwang-su's "A Single Spark" (1995) and Chang Sŏn-u's "A Petal" (1996), 95-115
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.
Fellini's Portrait of the Artist as Creative Problem Solver, 116-131
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.
Archival News, 132-140
Eric Schaefer, Dan Streible
Professional Notes, 141-152
Paula J. Massood, Sudhir Mahadevan
Back Matter

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