Film Quarterly

  ACKNOWLEDGMENTS

 expand sectionINTRODUCTION

 collapse sectionPART ONE—  EARLY DAYS
 Beige, Brown, or Black
 Recent Film Writing:  A Survey

 collapse sectionPART 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
 expand sectionYellow Earth :  Western Analysis and a Non-Western Text
 Popular Culture and Oral Traditions in African Film
 collapse sectionThe 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

 collapse sectionPART THREE—  GENRE
 expand sectionNightmare 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
 expand sectionHardcore:  Cultural Resistance in the Postmodern

 collapse sectionPART FOUR—  DOCUMENTARY
 The Voice of Documentary
 expand sectionNewsreel:  Old and New—Towards an Historical Profile
 expand sectionWhen Less Is Less:  The Long Take in Documentary
 expand sectionMirrors without Memories:  Truth, History, and the New Documentary

 collapse sectionPART FIVE—  TECHNOLOGIES
 Colorization
 Machines of the Invisible:  Changes in Film Technology in the Age of Video
 expand sectionVideophilia:  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

 collapse sectionPART 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
 expand sectionReading Kane
 expand sectionDesert Fury , Mon Amour
 expand sectionFritz Lang and Goebbels:  Myth and Facts

 collapse sectionPART SEVEN—  GROUP TEXTS
 expand sectionSpecial Feature:  Independent Cinema
 expand sectionFQ Round Table:  The Many Faces of Thelma & Louise

 expand sectionNotes
  NOTES ON CONTRIBUTORS
 expand sectionINDEX

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