Cinema Journal, 40, 3, Spring, 2001

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Front Matter
A Cultural Approach to Television Genre Theory, 3-24
Jason Mittell
Abstract: This essay argues that genres are cultural categories that surpass the boundaries of media texts and operate within industry, audience, and cultural practices as well. Offering a television-specific approach, the article explores media genres by incorporating contemporary cultural theory and exemplifying its discursive approach with a brief case study.
The Genre Film as Booby Trap: 1970s Genre Bending and "The French Connection", 25-46
Todd Berliner
Abstract: Genre-bending films rely on viewers' habitual responses to generic codes, misleading audiences into expecting conventional outcomes. "The French Connection" (1971) exploits spectators' expectations of police-detective-film formulas and thereby catches viewers offguard, creating a more unsettling experience than the genre traditionally provides.
"No One Knows You're Black!": "Six Degrees of Separation" and the Buddy Formula, 47-68
Jennifer Gillan
Abstract: Fred Schepisi's "Six Degrees of Separation" (1993) is an art-house film that plays with the buddy film formula, highlighting its inconsistencies and its contrived resolutions of complex issues surrounding racial and sexual anxieties and looking relations.
The Naked Truth: "Showgirls" and the Fate of the X/NC-17 Rating, 69-93
Kevin S. Sandler
Abstract: In 1990, the Motion Picture Association of America (MPAA) replaced the X rating with the NC-17 category--No Children 17 and under Admitted. The new designation took effect immediately and was copyrighted so that adult filmmakers--who appropriated the X for pornography in 1968--could no longer unilaterally apply it to their films. MGM/UA's "Henry & June" became the first major studio film to receive the outermost rating since 1979. The NC-17's immediate inheritance of the veneer of the X rating, and the subsequent box-office failure of "Showgirls" (1995), reaffirmed the economic liability of the rating system's adults-only category.
Fighting Films: The Everyday Tactics of World War II Soldiers, 94-112
William Friedman Fagelson
Abstract: American soldiers watching movies near the front lines during World War II talked back to the screen, interacting with the texts and with each other.
Archival News, 113-122
Eric Schaefer, Dan Streible
Professional Notes, 123-130
Paula J. Massood, Anne Morey
Back Matter

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