1. Editorial
  2. Drake Stutesman
  3. pp. 5-6
  4. DOI: 10.1353/frm.2013.0009
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  1. Shadow Lives: Josephine Baker and the Body of Cinema
  2. Katherine Groo
  3. pp. 7-39
  4. DOI: 10.1353/frm.2013.0012
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  1. Two Degrees of Separation: Xhanfise Keko and the Albanian Children's Film
  2. Bruce Williams
  3. pp. 40-58
  4. DOI: 10.1353/frm.2013.0000
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  1. "The Gland School": Gertrude Atherton and the Two Black Oxen
  2. Anne Morey
  3. pp. 59-76
  4. DOI: 10.1353/frm.2013.0002
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  1. Good Morning, Babylon: The Cathedral Is a Movie
  2. Alessandro Melis, Robert Swenson, Diane Lewis
  3. pp. 82-84
  4. DOI: 10.1353/frm.2013.0006
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  1. The Epic Frame
  2. Juhani Pallasmaa
  3. pp. 85-87
  4. DOI: 10.1353/frm.2013.0008
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  1. Black and White Equals Gray
  2. Lebbeus Woods
  3. pp. 95-97
  4. DOI: 10.1353/frm.2013.0014
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  1. Medianeras/Sidewalls: A Film by Gustavo Taretto
  2. Daniel Meridor
  3. pp. 98-101
  4. DOI: 10.1353/frm.2013.0001
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  1. Out of Body Experience
  2. Wes Rozen
  3. pp. 102-104
  4. DOI: 10.1353/frm.2013.0003
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  1. Framing
  2. David Turnbull
  3. pp. 105-107
  4. DOI: 10.1353/frm.2013.0005
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  1. Dark Matter
  2. Emma Fuller
  3. pp. 108-110
  4. DOI: 10.1353/frm.2013.0007
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  1. Silenzio! Fade Out into Blue: Notes on the Visual Presence of Absence in the Closure Frame of Le mépris
  2. Ole W. Fischer
  3. pp. 111-113
  4. DOI: 10.1353/frm.2013.0010
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  1. Kiss Me Deadly
  2. Robert Kleyn
  3. pp. 114-119
  4. DOI: 10.1353/frm.2013.0013
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  1. Introduction
  2. Diane Lewis
  3. pp. 79-81
  4. DOI: 10.1353/frm.2013.0004
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