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Abstract: This article explores the fascination of Swedish audiences with the forty-plus films based on Astrid Lindgren's children's
books, "Pippi Longstocking" foremost among them. Following Lindgren's death in 2002, will these films continue to play a unifying
function in an increasingly multicultural Sweden?
Beretta E. Smith-Shomade
Abstract: This essay examines the cultural specificity of the gangster genre. In hip-hop gangsta films, the inclusion of black women
as central to the gangster business not only transforms the gangster genre but, more important, adheres to black cultural
norms. The films "New Jack City," "Sugar Hill," and "Set It Off" serve as case studies.
Abstract: The 1991 science-fiction film "Total Recall" exhibits the kind of "political amnesia" that Michael Rogin has called an essential
aspect of the "postmodern American empire." At the same time, the film insistently undermines the cinematic amnesia that helps
to make film narrative possible, by repeatedly representing the cinematic apparatus within the film's own story. The relationship
between these two impulses--broadly, the film's recuperation of its political content and its interrogation of its cinematic
form--is the subject of this essay.
Abstract: John Huston's "Red Badge of Courage" (1951) is a marvelous example of literary capital under the strain of Cold War politics,
the changing face of MGM, and a maverick director. Archival material reproduced and explicated in this essay suggests what
might have been.
Abstract: The private lives of film stars are strangely contiguous with their roles. Consequently, a film star's home becomes an ambiguous
ecology: part dwelling, part location. Hollywood's domestic staging in promotional/publicity photo shoots exposes the semifictional
condition of the mechanism of stardom and suggests a cross-pollination between the art of the film industry and the life of
suburban Los Angeles. Further, a star's masculinity as displayed through décor provides a measure of Hollywood's gendering
of domestic space.
Abstract: This article discusses the films of Pierre Perrault and Bob Quinn, which are engaged in a kind of discussion with ethnographic
practice and nationalist discourse. Both filmmakers are fascinated by the experiences of those at the fringes of their nation-states,
especially island and diasporic communities, favoring the exposition of ambiguity and hybridity over simplified understandings
of national experiences.
Eric Schaefer, Dan Streible
Paula J. Massood, Sudhir Mahadevan