| Film Quarterly |
| ACKNOWLEDGMENTS |
 | INTRODUCTION |
| • | The Physical Journal |
| • | A Galaxy of Writers |
| PART ONE— EARLY DAYS |
| • | Beige, Brown, or Black |
| • | Recent Film Writing: A Survey |
| PART TWO— THEORY |
| • | Tense, Mood, and Voice in Film: (Notes after Genette) |
| • | The Critic as Consumer: Film Study in the University, Vertigo , and the Film Canon |
| Yellow Earth : Western Analysis and a Non-Western Text |
| • | First Narrative Strand: The Peasant's Story |
| • | Second Narrative Strand: The Daughter's Story |
| • | Third Narrative Strand: The Eighth Route Army Soldier's Story |
| • | The Fourth Strand: Hanhan's Story |
| • | Popular Culture and Oral Traditions in African Film |
| The Subversive Potential of the Pseudo-iterative |
| • | The Pseudo-iterative in Hollywood Classical Cinema |
| • | Italian Neorealism: The Pseudo-iterative as Narrative Rupture in Umberto D and Il Posto |
| • | Umberto D (1951) |
| • | Il Posto (1961) |
| • | The Feminist Avant-garde: The Pseudo-iterative as Semiotic Transgression in Toute une nuit |
| PART THREE— GENRE |
| Nightmare and the Horror Film: The Symbolic Biology of Fantastic Beings |
| • | Nightmare and the Horror Film |
| • | Human Artifice and the Science Fiction Film |
| • | Confessions of a Feminist Porn Watcher |
| • | The Sacraments of Genre: Coppola, DePalma, Scorsese |
| Hardcore: Cultural Resistance in the Postmodern |
| • | List of Works Cited |
| PART FOUR— DOCUMENTARY |
| • | The Voice of Documentary |
| Newsreel: Old and New—Towards an Historical Profile |
| • | Newsreel Pre-history |
| • | Institutional Ties—The Myth of Creation |
| • | California Newsreel |
| • | Third World Newsreel |
| • | Conclusion |
| When Less Is Less: The Long Take in Documentary |
| • | Disquiet in Documentary |
| • | The Viewing of Images |
| • | Responding to the Shot |
| • | From Rushes to Films |
| • | Qualities Sacrificed to the Film |
| • | The World within the Shot |
| • | Long-take Prospects |
| Mirrors without Memories: Truth, History, and the New Documentary |
| • | Works Cited |
| PART FIVE— TECHNOLOGIES |
| • | Colorization |
| • | Machines of the Invisible: Changes in Film Technology in the Age of Video |
| Videophilia: What Happens When You Wait for It on Video |
| • | The Videodisc Medium |
| • | Transfer/Translation |
| • | The Disintegrating Text: Videodiscs as Classical Ruins |
| • | "You Have to See It in a Theater" |
| • | Letterboxing, Mon Amour |
| • | "I'll Wait for It on Video" |
| • | Through the Looking Glasses: From the Camera Obscura to Video Assist |
| • | True Lies: Perceptual Realism, Digital Images, and Film Theory |
| PART SIX— HISTORICAL REVISIONS |
| • | Stepin Fetchit Talks Back |
| • | Footnote to the History of Riefenstahl's Olympia |
| • | Power and Dis-integration in the Films of Orson Welles |
| Reading Kane |
| • | Works Cited |
| Desert Fury , Mon Amour |
| • | Pre-credit Sequence |
| • | A Film of No Importance |
| • | Trouble in Chuckawalla |
| • | Terms of Endearment |
| • | Conspicuous Consumption |
| • | No Love for Johnny |
| • | Prisoner of the Desert |
| Fritz Lang and Goebbels: Myth and Facts |
| • | Sources |
| PART SEVEN— GROUP TEXTS |
| Special Feature: Independent Cinema |
| • | The Short and the Difficult |
| • | Castro Street : The Sensibility of Style |
| • | The Structure of Lyric: Baillie's to Parsifal |
| • | Brakhage: Artistic Development in Two Childbirth Films |
| FQ Round Table: The Many Faces of Thelma & Louise |
| • | Thelma & Louise's Exuberant Polysemy |
| • | Crossing Over |
| • | Bacchantes at Large |
| • | Thelma & Louise as Screwball Comedy |
| • | Narrative Organization |
| • | What Makes a Woman Wander |
| • | Satire into Myth |
| • | Thelma & Louise and Messidor as Feminist Road Movies |
| Notes |
| • | The Critic as Consumer: Film Study in the University, Vertigo , and the Film Canon |
| • | Yellow Earth : Western Analysis and a Non-Western Text |
| • | Popular Culture and Oral Traditions in African Film |
| • | The Subversive Potential of the Pseudo-iterative |
| • | Nightmare and the Horror Film: The Symbolic Biology of Fantastic Beings |
| • | Human Artifice and the Science Fiction Film |
| • | Confessions of a Feminist Porn Watcher |
| • | The Sacraments of Genre: Coppola, DePalma, Scorsese |
| • | Hardcore: Cultural Resistance in the Postmodern |
| • | The Voice of Documentary |
| • | Newsreel: Old and New—Towards an Historical Profile |
| • | When Less Is Less: The Long Take in Documentary |
| • | Mirrors without Memories: Truth, History, and the New Documentary |
| • | Machines of the Invisible: Changes in Film Technology in the Age of Video |
| • | Videophilia: What Happens When You Wait for It on Video |
| • | Through the Looking Glasses: From the Camera Obscura to Video Assist |
| • | True Lies: Perceptual Realism, Digital Images, and Film Theory |
| • | Power and Dis-integration in the Films of Orson Welles |
| • | Desert Fury , Mon Amour |
| • | Special Feature: Independent Cinema |
| • | FQ Round Table: The Many Faces of Thelma & Louise |
| NOTES ON CONTRIBUTORS |
| INDEX |
| • | A |
| • | B |
| • | C |
| • | D |
| • | E |
| • | F |
| • | G |
| • | H |
| • | I |
| • | J |
| • | K |
| • | L |
| • | M |
| • | N |
| • | O |
| • | P |
| • | Q |
| • | R |
| • | S |
| • | T |
| • | U |
| • | V |
| • | W |
| • | X |
| • | Y |
| • | Z |
