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)
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