Cinema Journal, 44, 2, Winter, 2005

This issue is archived at JSTOR. If your institution has a subscription, you can read articles using the below links.

Entire issue in JSTOR

Front Matter
"Made for the Masses with an Appeal to the Classes": The Triangle Film Corporation and the Failure of Highbrow Film Culture, 3-33
Rob King
Abstract: Genteel culture failed to provide an effective model for the development of the early American film industry. The history of the Triangle Film Corporation exemplifies the conflict between highbrow ideals and commercial necessity and shows how consumer values transformed the aesthetic and ethical standards of the genteel middle class.
The Mulatto Cyborg: Imagining a Multiracial Future, 34-49
LeiLani Nishime
Abstract: Applying the literature of passing to cyborg cinema makes visible the politics of cyborg representations and illuminates contemporary conceptions of mixed-race subjectivity and interpolations of mixed-race bodies. The passing narrative also reveals the constitutive role of melancholy and nostalgia both in creating cyborg cinema and in undermining its subversive potential.
The New Hollywood Racelessness: Only the Fast, Furious, (And Multiracial) Will Survive, 50-67
Mary C. Beltrán
Abstract: This article interrogates the rise of the "multiculti" action film and the casting of multiracial actors as Hollywood action film protagonists. These trends are examined in light of shifts in U.S. ethnic demographics and youth-oriented popular culture.
The (Un)Speakable FEMININITY in Mainstream Movies: Jane Campion's "The Piano", 68-88
Jaime Bihlmeyer
Abstract: Jane Campion's film "The Piano" (1993) opens an uncanny space in mainstream movies where cinematic enunciation intersects with the linguistic and psychoanalytic innovations of the last half-century. This article presents a glimpse into the traces (semios) of FEMININITY as latent extra-Symbolic discourse in Campion's film.
Restaging the War: "The Deer Hunter" and the Primal Scene of Violence, 89-106
Sylvia Shin Huey Chong
Abstract: "The Deer Hunter's" controversial representation of the Vietnam War reveals how violence figures an imaginary relationship between the American subject and its Oriental other. This article examines the film's reception and relationship to media images of the war, particularly Eddie Adams's photograph "Saigon Execution."
In Focus: Postfeminism and Contemporary Media Studies
[Introduction], 107-110
Archival News, 134-145
Scott Higgins, Sara Ross
Professional Notes, 146-154
Kirsten Moana Thompson, Rebecca M. Gordon
Back Matter

Order a single article

Back to UT Press Journals