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Adrienne L. McLean
Abstract: This essay focuses on a seldom studied but long-lived and robust ancillary product of classical Hollywood cinema, the monthly
movie story magazines devoted to article-length fictionizations of feature films. These magazines flourished in a variety
of forms from the late 1920s through the 1970s.
Abstract: Film theory's encounter with Jacques Lacan has focused on the identification of the spectator with a gaze of mastery. This
article argues that this involves a misreading of Lacan's concept of the gaze, and it focuses on the gaze as an instance of
the object petit a.
Mark Thornton Burnett
Abstract: This essay argues that Michael Almereyda's film of "Hamlet" (2000) is a distinctively postmodernist cinematic statement that
charts the ways in which the act of film-making allows a release from the pressures of global capitalism at the same moment
as it creates a space for the articulation of a coherent subjectivity.
Abstract: Itami creates eroticism in "The Funeral" (1984) and "Tampopo" (1985) by combining traditional Japanese notions of aesthetics
with a contemporary attitude toward the depiction of sex. Similar to their manifestations in other traditional and modern
Japanese performing and visual arts, the shape and color of clothing, covering/uncovering of the body, and objects are juxtaposed
to give them symbolic sexual meaning.
Abstract: This essay analyzes the utopian world of Nelly Kaplan's films, in which the witty, subversive acts of her heroines become
powerful statements in favor of women. Fascinating and horrifying at the same time, the alternatives Kaplan offers to patriarchy
are not all that perfect, but her strong characters do reflect the filmmaker's determination to transform the world (Marx)
and change life (Rimbaud).
Johannes von Moltke
Abstract: This critical reading of "Die Zweite Heimat," Edgar Reitz's 1993 sequel to "Heimat," argues that the thirteen-part series
elaborates a self-reflexive commentary on the New German Cinema through tropes of "Heimat." The particular focus is on the
nostalgic perspective Reitz takes in chronicling the demise of the aesthetic avantgarde toward the end of the 1960s.
Eric Schaefer, Dan Streible
Paula J. Massood, Sudhir Mahadevan