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  Volume 51, Number 2, Winter 2012

Table of Contents

Robert Bresson's Modernist Canvas: The Gesture toward Painting in Au hasard Balthazar

pp. 1-25
|

Remembering Cinema "Elsewhere": From Retrospection to Introspection in the Gallery Film

pp. 26-45
|

Tweeting @feliciaday: Online Social Media, Convergence, and Subcultural Stardom

pp. 46-66
|

US "Indie-Horror": Critical Reception, Genre Construction, and Suspect Hybridity

pp. 67-86
|

After New Latin American Cinema

pp. 87-112
|

Doing Justice: A Ritual-Psychoanalytic Approach to Postmodern Melodrama and a Certain Tendency of the Action Film

pp. 113-136
|

Media in Transition 7: Unstable Platforms: The Promise and Peril of Transition, Massachusetts Institute of Technology, Cambridge, May 13-15, 2011

pp. 137-140
|

In Focus

Introduction

pp. 141-144
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Screen Tests: Why Do We Need an Archaeology of the Screen?

pp. 144-148
|

Suitcase Cinema

pp. 148-152
|

Sound and Domestic Screens

pp. 153-157

The Screen on the Set: The Problem of Classical-Studio Rear Projection

pp. 157-162
|

Experimental Screens in the 1960s and 1970s: The Site of Community

pp. 162-167
|

The Crack in the Electric Window

pp. 167-171
|

Contributors

Contributors

p. 172
|

Book Reviews

Screens: Viewing Media Installation Art (review)

pp. 173-175
|

Art of Projection (review)

pp. 176-178
|

Transient Images: Personal Media in Public Frameworks (review)

pp. 179-181
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Global Mobile Media (review)

pp. 181-183
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Inherent Vice: Bootleg Histories of Videotape and Copyright (review)

pp. 184-186
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Research Areas

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