Cinema Journal, 42, 3, Spring, 2003

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Front Matter
"New Films in Story Form": Movie Story Magazines and Spectatorship, 3-26
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.
Looking for the Gaze: Lacanian Film Theory and Its Vicissitudes, 27-47
Todd McGowan
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.
"To Hear and See the Matter": Communicating Technology in Michael Almereyda's "Hamlet" (2000), 48-69
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.
Eroticism in Itami's "The Funeral" and "Tampopo": Juxtaposition and Symbolism, 70-95
Zvika Serper
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.
Demystification and Webtopia in the Films of Nelly Kaplan, 96-113
Lenuta Giukin
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).
Home Again: Revisiting the New German Cinema in Edgar Reitz's "Die Zweite Heimat" (1993), 114-143
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.
Archival News, 144-151
Eric Schaefer, Dan Streible
Professional Notes, 152-157
Paula J. Massood, Sudhir Mahadevan
Back Matter

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