1. Editorial
  2. Drake Stutesman
  3. p. 1
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  1. Rending the Veils of Illusion: W. Somerset Maugham’s The Letter and Its Two Definitive Film Interpretations
  2. John Thomas McGuire
  3. pp. 7-21
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  1. Retelling Polish History through the “Soft Avant-Garde” Films of the 1960s
  2. Ewa Mazierska
  3. pp. 22-39
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  1. Belabored: Style as Work
  2. John David Rhodes
  3. pp. 47-64
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  1. Wastrels of Time: Slow Cinema’s Laboring Body, the Political Spectator, and the Queer
  2. Karl Schoonover
  3. pp. 65-78
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  1. The Body’s Failed Labor: Performance Work in Sexploitation Cinema
  2. Elena Gorfinkel
  3. pp. 79-98
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  1. The State of Labor and Labor for the State: Syrian and Egyptian Cinema beyond the 2011 Uprisings
  2. Kay Dickinson
  3. pp. 99-116
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  1. Picturing The Postmaster: Tagore, Ray, and the Making of an Uncanny Modernity
  2. Mrinalini Chakravorty
  3. pp. 117-146
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  1. French Film and Work: The Work Done by Work-Centered Films
  2. Martin O’Shaughnessy
  3. pp. 155-171
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  1. Cinema, the Post-Fordist Worker, and Immaterial Labor: From Post-Hollywood to the European Art Film
  2. Michael Goddard, Benjamin Halligan
  3. pp. 172-189
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  1. “Heroes of the Working Class”?: Work in Czechoslovak Films of the New-Wave and Postcommunist Years
  2. Jonathan Owen
  3. pp. 190-206
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  1. What Happened to the Polish Multitude?: Representation of Working People in Polish Postcommunist Cinema
  2. Ewa Mazierska
  3. pp. 207-227
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  1. Introduction
  2. Elena Gorfinkel
  3. pp. 43-46
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  1. Introduction: Cinema and the Realities of Work
  2. Ewa Mazierska
  3. pp. 149-154
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