1. The Cinema of Affections: The Transformation of Authorship in British Cinema before 1907
  2. Joe Kember
  3. pp. 3-16
  4. DOI: 10.1353/vlt.2006.0017
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  1. Studio Authorship, Warner Bros., and The Fountainhead
  2. Jerome Christensen
  3. pp. 17-31
  4. DOI: 10.1353/vlt.2006.0012
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  1. "Some Kind of a Man": Orson Welles as Touch of Evil's Masculine Auteur
  2. Brooke Rollins
  3. pp. 32-41
  4. DOI: 10.1353/vlt.2006.0021
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  1. A Point of Little Hope: Hippie Horror Films and the Politics of Ambivalence
  2. Matt Becker
  3. pp. 42-59
  4. DOI: 10.1353/vlt.2006.0011
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  1. Marketing David Mamet: Institutionally Assigned Film Authorship in Contemporary American Cinema
  2. Yannis Tzioumakis
  3. pp. 60-75
  4. DOI: 10.1353/vlt.2006.0023
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  1. Exorcizing/Exercising Treachery: Robust Subjectivity in Lourdes Portillo's The Devil Never Sleeps
  2. Monica F. Torres
  3. pp. 76-85
  4. DOI: 10.1353/vlt.2006.0022
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  1. Technology in Search of an Artist: Questions of Auteurism/Authorship and the Contemporary Cinematic Experience
  2. Anna Notaro
  3. pp. 86-97
  4. DOI: 10.1353/vlt.2006.0019
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  1. The Coen Brothers' "Fargo" (review)
  2. Kristen Grant
  3. pp. 98-100
  4. DOI: 10.1353/vlt.2006.0015
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  1. Film and Authorship (review)
  2. David Gurney
  3. pp. 101-104
  4. DOI: 10.1353/vlt.2006.0016
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  1. Alexander Dovzhenko: A Life in Soviet Film (review)
  2. James Murray
  3. pp. 105-107
  4. DOI: 10.1353/vlt.2006.0018
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  1. An Eye for Hitchcock (review)
  2. Elliot Panek
  3. pp. 108-111
  4. DOI: 10.1353/vlt.2006.0020
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  1. Contributors
  2. p. ii
  3. DOI: 10.1353/vlt.2006.0013
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  1. Introduction
  2. pp. 1-2
  3. DOI: 10.1353/vlt.2006.0014
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