1. The Revered Gaze: The Medieval Imaginary of Mel Gibson's The Passion of the Christ
  2. Alison Griffiths
  3. pp. 3-39
  4. DOI: 10.1353/cj.2007.0013
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  1. La Camera-Crayola: Authorship Comes of Age in the Cinema of Wes Anderson
  2. Devin Orgeron
  3. pp. 40-65
  4. DOI: 10.1353/cj.2007.0016
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  1. The Big Lift (1950): Image and Identity in Blockaded Berlin
  2. Ralph Stern
  3. pp. 66-90
  4. DOI: 10.1353/cj.2007.0019
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  1. Banal and Magnificent Space in Electra Glide in Blue (1973), or An Allegory of the Nixon Era
  2. Mark Shiel
  3. pp. 91-116
  4. DOI: 10.1353/cj.2007.0018
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  1. In Focus: Fair Use and Film
  2. pp. 117-120
  3. DOI: 10.1353/cj.2007.0011
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  1. From Fair Use to Exemption
  2. Peter Decherney
  3. pp. 120-127
  4. DOI: 10.1353/cj.2007.0012
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  1. Fair Use, Film, and the Advantages of Internet Distribution
  2. Fred Von Lohmann
  3. pp. 128-133
  4. DOI: 10.1353/cj.2007.0020
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  1. Untold Stories: Collaborative Research on Documentary Filmmakers' Free Speech and Fair Use
  2. Peter Jaszi, Patricia Aufderheide
  3. pp. 133-139
  4. DOI: 10.1353/cj.2007.0014
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  1. Access to Orphan Works: Copyright Law, Preservation, and Politics
  2. Eric J. Schwartz, Matt Williams
  3. pp. 139-145
  4. DOI: 10.1353/cj.2007.0017
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  1. "If You Can't Protect What You Own, You Don't Own Anything": Piracy, Privacy, and Public Relations in 21st Century Hollywood
  2. Jon Lewis
  3. pp. 145-150
  4. DOI: 10.1353/cj.2007.0015
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  1. Information about Contributors
  2. pp. 151-152
  3. DOI: 10.1353/cj.2007.0010
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