Cinema Journal, 45, 1, Fall, 2005

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Front Matter
Back Projection: Visualizing Past and Present Europe in "Zentropa", 3-21
Rosalind Galt
Abstract: This article analyzes Lars von Trier's film "Zentropa" (1991), arguing that it uses cinematic space to articulate Europe's historical and geopolitical spaces. Of particular interest are the film's intertextuality, its layering of superimposed images, and the relationships that it suggests exist between East and West, postwar and post-Wall, Germany and Europe.
"Military Enlightenment" for the Masses: Genre and Cultural Intermixing in South Korea's Golden Age War Films, 22-49
David Scott Diffrient
Abstract: Although officially categorized as "military enlightenment" and "anticommunist" by the Park Chung Hee regime, the war films directed by Yi Man-hŭi (Lee Man-hee)--one of the most important auteurs in South Korea's cinematic Golden Age of the 1960s--transcend formulaic genre constraints and deserve special attention for their humanistic approach to the Korean War.
Homologies of Space: Text and Spectatorship in All-Male Adult Theaters, 50-65
José B. Capino
Abstract: This article examines spectatorship in all-male adult theaters through an adaptation of the work of Siegfried Kracauer, a reading of Jerry Douglas's film "The Back Row" (1972), and ethnographic research on three prominent adult cinemas in the United States.
Radical Sissies and Stereotyped Fairies in Laurie Lynd's "The Fairy Who Didn't Want to Be a Fairy Anymore", 66-78
Gilad Padva
Abstract: Laurie Lynd's film "The Fairy Who Didn't Want to Be a Fairy Anymore" (1992) examines the cultural mechanisms of normalization and masculinization in contemporary heterocentrist society. This article compares Lynd's essentialist approach to sexual identification, camp subculture, and the economy of sissyness and body politics with Hans Christian Andersen's tragic story "The Little Mermaid" and with Tim Burton's romantic fantasy "Edward Scissorhands" (1990).
In Focus: The Place of Television Studies
Archival News, 118-125
Scott Higgins, Sara Ross
Professional Notes, 126-139
Kirsten Moana Thompson, Terri Ginsberg
Back Matter

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