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Table of Contents

  1. "I Got no Problem Killing My Kin": Fury (2014) and The Evolution of The World War II Combat Film
  2. Brian E. Crim
  3. pp. 4-14
  4. DOI: https://doi.org/10.1353/flm.2018.0000
  5. restricted access
  1. Falling Into History: Vertigo (1958) and The Time Lapse of Character
  2. Randall Spinks
  3. pp. 15-31
  4. DOI: https://doi.org/10.1353/flm.2018.0001
  5. restricted access
  1. "Free From the Blessings of Civilization": Native Americans In Stagecoach (1939) and Other John Ford Westerns
  2. Peter Yacavone
  3. pp. 32-44
  4. DOI: https://doi.org/10.1353/flm.2018.0002
  5. restricted access
  1. Gay Rights and The Reception of Dog Day Afternoon (1975)
  2. Anthony Macias
  3. pp. 45-56
  4. DOI: https://doi.org/10.1353/flm.2018.0003
  5. restricted access
  1. Film, History and Memory eds. Jennie M. Carlsten, Fearghal McGarry (review)
  2. Frans Weiser, Paul Cohen
  3. pp. 59-61
  4. DOI: https://doi.org/10.1353/flm.2018.0005
  5. restricted access
  1. Steaming into a Victorian Future: A Steampunk Anthology eds. Julie Anne Taddeo and Cynthia J. Miller (review)
  2. Jenny Barrett
  3. pp. 63-64
  4. DOI: https://doi.org/10.1353/flm.2018.0007
  5. restricted access
  1. Sportswomen in Cinema: Film and the Frailty Myth by Nicholas Chare (review)
  2. Zachary Ingle
  3. pp. 65-66
  4. DOI: https://doi.org/10.1353/flm.2018.0008
  5. restricted access
  1. Music for Silent Film: A Guide to North American Resources by Kendra Preston Leonard (review)
  2. Tim Shorkey
  3. pp. 66-67
  4. DOI: https://doi.org/10.1353/flm.2018.0009
  5. restricted access
  1. Refocus: The Films of Delmer Daves eds. by Matthew Carter, Andrew Patrick Nelson (review)
  2. Bernard F. Dick
  3. pp. 70-71
  4. DOI: https://doi.org/10.1353/flm.2018.0011
  5. restricted access
  1. Postfeminism and the Fatale Figure in Neo-Noir Cinema by Samantha Lindop (review)
  2. Shannon Scott
  3. pp. 71-73
  4. DOI: https://doi.org/10.1353/flm.2018.0012
  5. restricted access
  1. Star Trek and American Television by Roberta Pearson and Maire Messenger Davies (review)
  2. Robert Gabriel
  3. pp. 74-75
  4. DOI: https://doi.org/10.1353/flm.2018.0013
  5. restricted access
  1. World Film Locations: Liverpool eds. by Jez Conolly and Caroline Whelan (review)
  2. Kevin M. Flanagan
  3. pp. 76-77
  4. DOI: https://doi.org/10.1353/flm.2018.0014
  5. restricted access
  1. Hollywood Riots: Violent Crowds and Progressive Politics in American Film by Doug Dibbern (review)
  2. Katherine Alloco
  3. pp. 80-81
  4. DOI: https://doi.org/10.1353/flm.2018.0016
  5. restricted access
  1. 24 by John McCullough (review)
  2. Cynthia Cravens
  3. pp. 82-83
  4. DOI: https://doi.org/10.1353/flm.2018.0017
  5. restricted access
  1. Mussolini's Dream Factory: Film Stardom in Fascist Italy by Stephen Gundle (review)
  2. Peter Catapano
  3. pp. 86-88
  4. DOI: https://doi.org/10.1353/flm.2018.0019
  5. restricted access
  1. The Many Lives of Cy Endfield: Film Noir, the Blacklist and Zulu by Brian Neve (review)
  2. Bernard F. Dick
  3. pp. 89-90
  4. DOI: https://doi.org/10.1353/flm.2018.0020
  5. restricted access
  1. Bad Seeds and Holy Terrors: The Child Villains of Horror Film by Dominic Lennard (review)
  2. Amanda Greer
  3. pp. 90-92
  4. DOI: https://doi.org/10.1353/flm.2018.0021
  5. restricted access
  1. Horrors of War: The Undead on the Battlefield eds. by Cynthia J. Miller, A. Bowdoin Van Riper (review)
  2. Kyle William Bishop
  3. pp. 92-94
  4. DOI: https://doi.org/10.1353/flm.2018.0022
  5. restricted access
  1. Political Fellini: Journey to the End of Italy by Andrea Minuz (review)
  2. Bernard F. Dick
  3. pp. 95-96
  4. DOI: https://doi.org/10.1353/flm.2018.0023
  5. restricted access