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Table of Contents

  1. Robert Bresson's Modernist Canvas: The Gesture toward Painting in Au hasard Balthazar
  2. Raymond Watkins
  3. pp. 1-25
  4. DOI: https://doi.org/10.1353/cj.2012.0002
  5. restricted access
  1. Remembering Cinema "Elsewhere": From Retrospection to Introspection in the Gallery Film
  2. Catherine Fowler
  3. pp. 26-45
  4. DOI: https://doi.org/10.1353/cj.2012.0008
  5. restricted access
  1. Tweeting @feliciaday: Online Social Media, Convergence, and Subcultural Stardom
  2. Elizabeth Ellcessor
  3. pp. 46-66
  4. DOI: https://doi.org/10.1353/cj.2012.0010
  5. restricted access
  1. US "Indie-Horror": Critical Reception, Genre Construction, and Suspect Hybridity
  2. Jamie Sexton
  3. pp. 67-86
  4. DOI: https://doi.org/10.1353/cj.2012.0012
  5. restricted access
  1. After New Latin American Cinema
  2. Paul A. Schroeder Rodríguez
  3. pp. 87-112
  4. DOI: https://doi.org/10.1353/cj.2012.0014
  5. restricted access
  1. Doing Justice: A Ritual-Psychoanalytic Approach to Postmodern Melodrama and a Certain Tendency of the Action Film
  2. Richard Pope
  3. pp. 113-136
  4. DOI: https://doi.org/10.1353/cj.2012.0001
  5. restricted access
  1. Media in Transition 7: Unstable Platforms: The Promise and Peril of Transition, Massachusetts Institute of Technology, Cambridge, May 13-15, 2011
  2. Miranda Banks
  3. pp. 137-140
  4. DOI: https://doi.org/10.1353/cj.2012.0004
  5. restricted access
  1. Screen Tests: Why Do We Need an Archaeology of the Screen?
  2. Erkki Huhtamo
  3. pp. 144-148
  4. DOI: https://doi.org/10.1353/cj.2012.0011
  5. restricted access
  1. Suitcase Cinema
  2. Haidee Wasson
  3. pp. 148-152
  4. DOI: https://doi.org/10.1353/cj.2012.0006
  5. restricted access
  1. Sound and Domestic Screens
  2. Steve J. Wurtzler
  3. pp. 153-157
  4. DOI: https://doi.org/10.1353/cj.2012.a500518
  5. restricted access
  1. The Screen on the Set: The Problem of Classical-Studio Rear Projection
  2. Julie Turnock
  3. pp. 157-162
  4. DOI: https://doi.org/10.1353/cj.2012.0000
  5. restricted access
  1. Experimental Screens in the 1960s and 1970s: The Site of Community
  2. Tess Takahashi
  3. pp. 162-167
  4. DOI: https://doi.org/10.1353/cj.2012.0013
  5. restricted access
  1. The Crack in the Electric Window
  2. Charles R. Acland
  3. pp. 167-171
  4. DOI: https://doi.org/10.1353/cj.2012.0007
  5. restricted access
  1. Screens: Viewing Media Installation Art (review)
  2. David Sterritt
  3. pp. 173-175
  4. DOI: https://doi.org/10.1353/cj.2012.0015
  5. restricted access
  1. Art of Projection (review)
  2. Wendy Haslem
  3. pp. 176-178
  4. DOI: https://doi.org/10.1353/cj.2012.0016
  5. restricted access
  1. Transient Images: Personal Media in Public Frameworks (review)
  2. Tara McPherson
  3. pp. 179-181
  4. DOI: https://doi.org/10.1353/cj.2012.0017
  5. restricted access
  1. Global Mobile Media (review)
  2. Rich Ling
  3. pp. 181-183
  4. DOI: https://doi.org/10.1353/cj.2012.0018
  5. restricted access
  1. Inherent Vice: Bootleg Histories of Videotape and Copyright (review)
  2. Frederick Wasser
  3. pp. 184-186
  4. DOI: https://doi.org/10.1353/cj.2012.0019
  5. restricted access
  1. Introduction
  2. Haidee Wasson
  3. pp. 141-144
  4. DOI: https://doi.org/10.1353/cj.2012.0003
  5. restricted access
  1. Contributors
  3. p. 172
  4. DOI: https://doi.org/10.1353/cj.2012.0009
  5. restricted access