Abstracts: Adela Sequeyro, Mexican film pioneer. From celluloid to video: the tragedy of the Nigerian film industry. Home video and film: the case of 'Who Framed Roger Rabbit.'
Abstracts: An amateur of quality: postwar French cinema and Jean-Pierre Melville's Le Silence de la mer. Traversing cinematic borders: An interview with Paul Espinosa
Abstracts: An interview with Margot Benacerraf: 'Reveron,' 'Araya,' and the institutionalization of cinema in Venezuela. Filming ... 'and the earth did not swallow him': an interview with Severo Perez
Abstracts: An interview with Maria Luisa Bemberg. On gone with the wind, Selznick, and the art of 'Mickey Mousing': An interview with Max Steiner
Abstracts: Ant farm redux: Pyrotechnics and emergence. "MTV aesthetics" at the movies: interrogating a film criticism fallacy
Abstracts: Apocrypha meets The Pentagon Papers: the appeals to the X-Files to the X-Phile. X-Philes: imaginations of millenial anxieties
Abstracts: At work in the genre laboratory: Brian DePalma's "Scarface." (film) Cowboy wonderland, history, and myth: 'It ain't all that different than real life.'
Abstracts: Back from the sunset: the western, the Eastwood hero, and 'Unforgiven.' Now you are a killer of white men: Jim Jarmusch's 'Dead Man' and the traditions of revisionism in the Western
Abstracts: Checks and imbalances: political economy and the rise and rall of 'East Side/West Side'. Puce modern moment: Camp, postmodernism, and the films of Kenneth Anger
Abstracts: Cinematic dis-contents: Addressing a Latin/Latino avant-grade through the browser apparatus. "Let's go places with Jimmy": James Cagney as 1930s immigrant icon
Abstracts: Course file for "documentary film, visual anthropology, and visual sociology." Course file: An integrated approach to teaching production and Entertainment Law
Abstracts: Dead-end days: The sacrifice of displaced workers on film. The Scream trilogy, "hyperpostmodernism," and the late-nineties teen slasher film
Abstracts: Different, except in a different way: marriage, divorce, and gender in the Hollywood comedy of remarriage. The question of Third Cinema: African and Middle Eastern cinema
Abstracts: Experimenting with the entertainment-education strategy in film and video. The impact of digital video technology on production: the case of 'American Gothic.'
Abstracts: Fascinating machismo: toward an unmasking of heterosexual masculinity in Arturo Ripstein's 'El lugar sin limites.'
Abstracts: Filmmaking, teaching, and the colonial experience: an immigrant's account from "English" Canada of a story of American success
Abstracts: From portapak to camcorder: a brief history of guerrilla television. Gunning for a new slow motion: The 45-degree shutter and the representation of violence
Abstracts: From zygote to global cinema via Su Friedrich's films. Visiting filmmakers: why bother? Three scripts: Mike Hoolbloom
Abstracts: Governing images: The politics of film and video distribution in late-apartheid and postapartheid South Africa
Abstracts: Hitchcock's melodramatic silence. Course file for 'Narrative Film: Theory and Practice.' Using theatrical acting techniques in the production of short films
Abstracts: Hochschule fur Film und Fernsehen (Babelsberg). Adela Sequeyro, Mexican film pioneer. The emerging video film industry in Nigeria: challenges and prospects
Abstracts: Howard Hawks: American gesture. Loss and transformation: mourning and "The Finished People". 'I'm a Cansino': transformation, ethnicity, and authenticity in the construction of Rita Hayworth, American love goddess
Abstracts: "I don't see any method at all": The problem of actorly transformation. June Mathis's 'Classified': one woman's response to modernism
Abstracts: Making contact: working with the White Mountain Apache on 'Indian Summer.' Teaching media
Abstracts: Marx in a Texas love triangle: "Marrying up" and the classed gaze in Days of Haven. A River Runs Through It: Metanarrative and self-discovery
Abstracts: Moviegoing and gole-making: The case of Blade Runner. Interpreting a man's world: female voices in 'Badlands' and 'Days of Heaven'
Abstracts: 'No Hay Banda, and yet We hear a Band': David Lynch's reversal of coherence in Mulholland Drive. An oneric figure: The various logics of Mulholland drive
Abstracts: Oscar Micheaux the entrepreneur: financing "The House Behind the Cedars." (film) Camping under western stars: Joan Crawford in 'Johnny Guitar.'
Abstracts: Oscar Micheaux the entrepreneur: financing "The House Behind the Cedars." (film) part 2 Snapshots of Greece: "Never on Sunday" and the East/West politics of the 'Vacation Film.'
Abstracts: Politics, film studies, and the academy: a commentary. Challenging narratives: Crossovers in prime time. The other living-room war: prime time combat series, 1962-1975
Abstracts: Portraits of the postmodern person in "Taxi Driver," "Raging Bull," and "The King of Comedy." (films) From the indexical to the spectacle: On Zhang Yimou's postmodern turn in Not One Less
Abstracts: Race, class, and the pressure to pass in American maternal melodrama: The case of Stella Dallas. Differences: the X-Files, race and the white norm
Abstracts: Readerly and writerly 'Letters From the Park.' (analysis of 'Cartas del parque,' based on Gabriel Garcia Marquez's story)
Abstracts: Reconceptualizing screen performance. The eye in the object: identification and surveillance in Samuel Beckett's screen dramas
Abstracts: Remembering Stan Brakhage: An E-mail conversation between Steve Anker and Willie Varela. We will not go quietly: Some thoughts on the avant-grade, then and now
Abstracts: Represented in the margins: images of African American soldiers in Vietnam War combat films. Visible fandom: reading the X-Files through X-Philes
Abstracts: Romaine Fielding's real westerns. The image of the Other and the Other 'Dances With Wolves': the refigured Indian and the textual supplement
Abstracts: Scripting for a viewer response: Woolrich, Truffaut, and 'The Bride Wore Black.' (Cornell Woolrich; Francois Truffaut)
Abstracts: Scripting for a viewer response: Woolrich, Truffaut, and 'The Bride Wore Black.' (Cornell Woolrich; Francois Truffaut) part 2
Abstracts: Semi-documentary/semi-fiction: an examination of genre in 'Strangers in Good Company.' Reconstructing Vertov: Soviet film theory and American radical documentary
Abstracts: "Serving" American orientalism: Negotiating identities in The Courtship of Eddie's Father. A mixed bag: negotiating claims in MTV's The Real World
Abstracts: Teaching film and television in developing nations: a Malaysian case study. The Academy of Television Arts and Sciences Educational Programs: an interview with Price Hicks
Abstracts: Television music: automaticity and the case of Mike Post. The Academy of Television Arts and Sciences Educational Programs: an interview with Price Hicks
Abstracts: The career and influence of Ed Pincus: shifts in documentary epistemology. Speaking for, speaking about, speaking with, or speaking alongside: an anthropological documentary dilemma
Abstracts: The main tendencies of the film education system in perestroika. Film/Video Preproduction
Abstracts: The material poetry of acting: "Objects of Attention," performance style, and gender in The Shining and Eyes Wide Shut
Abstracts: The Paradoxes of Quirigua. When victims speak (or, what happened when Spielberg added 'Amistad' to his list?)
Abstracts: The pitfalls of media "representations": David Lynch's Lost Highway. Troubled masculinity and abusive fathers: duality and duplicity in 'The Gingerbread Man'
Abstracts: The problem of the Divo: New models for analyzing silent-film performance. What is the criterion? The Criterion Collection as an archive of film as culture
Abstracts: The professor as censor: creative limitation and film production pedagogy. Course file for "Crossing Boundaries: Diversity and Representation"
Abstracts: The unknown cinema: documentary screen, glasnost era. At the crossroads. Reconstructing Vertov: Soviet film theory and American radical documentary
Abstracts: 'The world in a drop of water': the feminist vision of Patricia Howell. Nina Leibman and the Clothesline Project
Abstracts: The X-Files and the borders of the post-cold war world. The pleasures of disappointment: sequels and the Godfather, Part II
Abstracts: To be rather than to seem: liberal education & personal growth through documentary production. The education of women in film production
Abstracts: Transcending time: Jean Harlow and Hollywood's narrative of decline. Crowd control: early cinema, sound, and digital images
Abstracts: Ugly Americans in togas: Imperial anxiety in the cold war Hollywood epic. A big fat indie success story? Press discourses surrounding the making and marketing of a "Hollywood" movie
Abstracts: What a trip: the road film and American culture. Twilight of the idols: Performance, melodramatic villainy, and Sunset Boulevard
Abstracts: 'You'll see it just as I saw it': voyeurism, fetishism, and the female spectator in 'Lady in the Lake.'(1947 film)
This website is not affiliated with document authors or copyright owners. This page is provided for informational purposes only. Unintentional errors are possible.
Copyright © 2016 - Advameg Inc.