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Table of Contents

  1. Editors' Introduction
  3. pp. 1-2
  4. DOI: https://doi.org/10.1353/cj.2018.0048
  5. restricted access
  1. Objectivity, Speculative Realism, and the Cinematic Apparatus
  2. Chelsea Birks
  3. pp. 3-24
  4. DOI: https://doi.org/10.1353/cj.2018.0049
  5. restricted access
  1. Chaebol Affect: Emotional Capital and the Interiority of Wealth in Im Sang-soo's The Housemaid and The Taste of Money
  2. Youngmin Choe
  3. pp. 25-46
  4. DOI: https://doi.org/10.1353/cj.2018.0050
  5. restricted access
  1. "Feast Your Eyes, Glut Your Soul": Lon Chaney, Tod Browning, Disfigurement, and the Limits of Redemptive Affects
  2. Katherine Fusco
  3. pp. 47-70
  4. DOI: https://doi.org/10.1353/cj.2018.0051
  5. restricted access
  1. A DIY Come-On: A History of Optical Printing in Avant-Garde Cinema
  2. John Powers
  3. pp. 71-95
  4. DOI: https://doi.org/10.1353/cj.2018.0052
  5. restricted access
  1. The Making of Hollywood Production: Televising and Visualizing Global Filmmaking in 1960s Promotional Featurettes
  2. Daniel Steinhart
  3. pp. 96-119
  4. DOI: https://doi.org/10.1353/cj.2018.0053
  5. restricted access
  1. Decolonize Media: Tactics, Manifestos, Histories
  2. Nicholas Mirzoeff, Jack Halberstam
  3. pp. 120-123
  4. DOI: https://doi.org/10.1353/cj.2018.0054
  5. restricted access
  1. Countermanifestos and Audibility
  2. Macarena GóMez-Barris
  3. pp. 124-127
  4. DOI: https://doi.org/10.1353/cj.2018.0055
  5. restricted access
  1. Anarchy on and off the Air
  2. J. Kēhaulani Kauanui
  3. pp. 127-132
  4. DOI: https://doi.org/10.1353/cj.2018.0056
  5. restricted access
  1. Decolonizing Education and Research by Countering the Myths We Live By
  2. Julie Reid
  3. pp. 132-138
  4. DOI: https://doi.org/10.1353/cj.2018.0057
  5. restricted access
  1. For Maalik, Naz, Brittany, & Alexis; or, On Loving Black People as a Liberatory Practice
  2. Simone Browne
  3. pp. 138-142
  4. DOI: https://doi.org/10.1353/cj.2018.0058
  5. restricted access
  1. The Untitled Images (2014)
  2. Khaled Barakeh
  3. pp. 142-145
  4. DOI: https://doi.org/10.1353/cj.2018.0059
  5. restricted access
  1. Reel Evil
  2. Negar Mottahedeh
  3. pp. 146-150
  4. DOI: https://doi.org/10.1353/cj.2018.0060
  5. restricted access
  1. Contributors
  3. pp. 151-152
  4. DOI: https://doi.org/10.1353/cj.2018.0061
  5. restricted access
  1. The Studios after the Studios: Neoclassical Hollywood (1970–2010) by J. D. Connor (review)
  2. Thomas Schatz
  3. pp. 153-157
  4. DOI: https://doi.org/10.1353/cj.2018.0062
  5. restricted access
  1. Film Blackness: American Cinema and the Idea of Black Film by Michael Boyce Gillespie (review)
  2. Courtney R. Baker
  3. pp. 158-160
  4. DOI: https://doi.org/10.1353/cj.2018.0063
  5. restricted access
  1. The Documentary Film Reader: History, Theory, Criticism ed. by Jonathan Kahana, and: Essays on the Essay Film eds. by Nora M. Alter and Timothy Corrigan (review)
  2. Tanya Goldman
  3. pp. 161-166
  4. DOI: https://doi.org/10.1353/cj.2018.0064
  5. restricted access
  1. Public Spectacles of Violence: Sensational Cinema and Journalism in Early Twentieth-Century Mexico and Brazil by Rielle Navitski (review)
  2. Georgina Torello, Laura Isabel Serna
  3. pp. 166-169
  4. DOI: https://doi.org/10.1353/cj.2018.0065
  5. restricted access
  1. Immediations: The Humanitarian Impulse in Documentary by Pooja Rangan (review)
  2. Ryan Watson
  3. pp. 170-174
  4. DOI: https://doi.org/10.1353/cj.2018.0066
  5. restricted access
  1. Contributors
  3. pp. 174-175
  4. DOI: https://doi.org/10.1353/cj.2018.0067
  5. restricted access