Cinema Journal, 44, 1, Fall, 2004

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Front Matter
"That's Jazz Made in Germany!": "Hallo, Fräulein!" and the Limits of Democratic Pedagogy, 3-24
Jennifer Fay
Abstract: Rudolf Jugert's 1949 German-jazz musical "Hallo, Fräulein!" transmutes and inverts many of the conventions of the Hollywood musical in order to comment on the cultural and racial stakes of the American occupation of Germany following World War II. Made under the supervision of the U.S. military government, the film unsettles the proposition of cultural reorientation and the definition of democratic culture in general.
Disabling African American Men: Liberalism and Race Message Films, 25-48
John Nickel
Abstract: This essay explores the intersection of liberal politics and depictions of disability in movies from the 1940s to 1960s that promote racial tolerance.
"You're Next!": Postwar Hegemony Besieged in "Invasion of the Body Snatchers", 49-68
Katrina Mann
Abstract: This essay explores the ways in which Don Siegel's "Invasion of the Body Snatchers" employs familiar postwar discourses of difference, namely racial masquerade, alien immigration, and sexual deviance, in its hyperbolic dramatization of the potential social, political, and personal disenfranchisement of postwar America's hegemonic white patriarchy.
"Too Close for Comfort": "American Beauty" and the Incest Motif, 69-93
Kathleen Rowe Karlyn
Abstract: Through a reading of the film "American Beauty," this article explains how the structure of father-daughter incest, working through displacement, has provided a narrative that links a series of recent cultural developments: the sexualization of ever-younger girls, cinema's erasure of mothers and of career women as sympathetic figures, and efforts to remasculinize the middle-aged white male.
In Focus: Film History, or a Baedeker Guide to the Historical Turn
Archival News, 144-154
Scott Higgins, Sara Ross
Professional Notes, 155-166
Kirsten Moana Thompson, Rebecca M. Gordon
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