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Abstract: This article offers an examination of the unusual career of Austrian-born filmmaker Edgar G. Ulmer. Several examples from
the director's eclectic oeuvre are used to support the idea that exile is a vital strain in Ulmer's aesthetic and cultural
Abstract: This essay compares romantic films with pornographic films and argues that the former focus on the establishment of personalized,
exclusive relations--bonds of love--whereas the latter focus on anonymous desire. In addition, the article examines the evolutionary
roots of love and desire and compares the explanatory value of evolutionary psychology with psychoanalysis for film studies.
Abstract: Despite the casual use to which the term "punk cinema" has been put since the inception of punk rock, the concept, as reimagined
in this essay, denotes an identifiable aesthetic, bolstered by a correlative economics. Adherents of this model demand of
cinema what punks have demanded of music--that it encourage production, in any medium. Punk cinema employs an open, writerly
aesthetic, engages with history, and critiques its own commodification. It can be negatively defined as non-Hollywoodized,
where a Hollywood aesthetic demands a closed, readerly text unconcerned with history and obfuscating its position within the
relations of production. Punk films, such as "The Punk Rock Movie" (Don Letts, 1978) and "Rude Boy" (Jack Hazan, 1980), foreground
their conditions of production, which stand as material signifiers of the possibility of making music or film, participating
in critique, or doing both at once.
Abstract: In "Mulholland Drive", David Lynch creates a filmic divide between the experience of desire and the experience of fantasy,
thereby revealing that, at the same time that it disguises the Real, fantasy also offers us a privileged path to it.
B. Ruby Rich
Wheeler Winston Dixon
Henry A. Giroux
Eric Schaefer, Dan Streible
Paula J. Massood, Rebecca M. Gordon