Cinema Journal, 43, 1, Fall, 2003

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Front Matter
Film Noir Fascination: Outside History, but Historically so, 3-24
Oliver Harris
Abstract: Film noir is a recognized object of historical fascination, but the structures of fascination internal to the films have yet to be analyzed and theorized historically. The work of Maurice Blanchot and Walter Benjamin helps locate the moral and political force of noir as it relates to cinema spectatorship and historical experience as defined by the fascinating image.
Recontextualizing Copyright: Piracy, Hollywood, the State, and Globalization, 25-43
Shujen Wang
Abstract: Drawing on theories of the state, networks, and globalization, this article examines issues of transnational copyright governance. Also under examination are the role of the state in its relations with transnational trade and legal regimes, Hollywood's struggle in fighting piracy, and the impact of digital technology on the market.
Love's Labors Almost Lost: Managing Crisis during the Reign of "I Love Lucy", 44-62
Susan M. Carini
Abstract: This article presents new research material on how Lucille Ball and Desi Arnaz managed their public personas during the run of "I Love Lucy" (1951-1957). It also marks a first effort to analyze the effect of the "Red" scare on Ball and to assess her FBI file--an intriguing collection of primary material that, curiously, seems to have been assembled by a Lucy worshiper.
Transnational Anatomies of Exile and Abjection in Milcho Manchevski's "Before the Rain" (1994), 63-84
Katarzyna Marciniak
Abstract: This essay considers the discourses of liminality and "national purity" in Milcho Manchevski's "Before the Rain" (1994) in the context of contemporary transnational exilic cinema. Through its innovative narrative structure, the film self-consciously seeks to resist aesthetization and sublimation of abjection and mobilizes a critique of "authentic" citizenry.
The Good Lynching and "The Birth of a Nation": Discourses and Aesthetics of Jim Crow, 85-104
Michele Faith Wallace
Abstract: "The Birth of a Nation" (1915) is a landmark in the development of the feature film and in the history of American racial discourse in the Jim Crow period. This article proposes that the corrective for our current perspective on "The Birth of a Nation" is that we more thoroughly study how the techniques of feature film inscribe and underwrite dominant racial ideologies.
The Society for Cinema Studies: A Personal Recollection of the Early Days, 105-112
Jack C. Ellis
Archival News, 113-124
Eric Schaefer, Dan Streible
Professional Notes, 125-133
Paula J. Massood, Rebecca M. Gordon
Back Matter

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