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
 expand sectionThe Subversive Potential of the Pseudo-iterative

 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
 collapse sectionVideophilia:  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

 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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