Cinema Journal Annotated Index to Volume 50

Thomas Andrae, Greg M. Smith, Scott Bukatman, and Thomas LaMarre. See Smith.

Barnett, Kyle S. Review of Selling Sounds: The Commercial Revolution in American Music by David Suisman. 50, no. 2 (Winter 2011): 179–181.

Beaty, Bart. Introduction to In Focus: Comics Studies Fifty Years After Film Studies. 50, no. 3 (Spring 2011): 106–110.

Bloom, Peter J. Review of Signal and Noise: Media, Infrastructure, and Urban Culture in Nigeria by Brian Larkin. 50, no. 1 (Fall 2010): 170–172.

Bodroghkozy, Aniko. “Teaching Television History: The Textbook.” Book Reviews: Teaching Television. 50, no. 4 (Summer 2011): 188–194.

Bukatman, Scott. “Why I Hate Superhero Movies.” In Focus: Comics Studies Fifty Years After Film Studies. 50, no. 3 (Spring 2011): 118–122.

Bukatman, Scott, Greg M. Smith, Thomas Andrae, and Thomas LaMarre. See Smith.

Burns, Christy L. “Tarkovsky’s Nostalghia: Refusing Modernity, Re-Envisioning Beauty.” 50, no. 2 (Winter 2011): 104–122. In Nostalghia, Andrei Tarkovsky’s refusal of narrative and use of long, slow takes distinguish him from Soviet realism and postmodern culture. His striking visuals provide a fresh treatment of the beautiful and create spatial-temporal correlatives to nostalgia and loss. The film contributes to suture theory, as well, and models a complex politics.

Cardullo, Bert. “‘Making People Think Is What It’s All About’: An Interview With Mike Leigh.” 50, no. 1 (Fall 2010): 1–18.

Cassidy, Marsha F. “My Students and Betty White: American Television History in the Classroom.” Mini-Dossier: Teaching Our Research . . . and Researching Our Teaching. 50, no. 3 (Spring 2011): 86–88.

Celik, Ipek A. “‘I Wanted You to Be Present’: Guilt and the History of Violence in Michael Haneke’s Caché.” 50, no. 1 (Fall 2010): 59–80. The essay examines how Michael Haneke’s Caché (2005) addresses contemporary racism in France. After discussing the film’s historical background and reviewing Anglo-American and French criticism, the article explores the connection between the film’s “terrible realism” and the implications of colonial violence and guilt in today’s France.

Chanan, Michael. “Going South: On Documentary as a Form of Cognitive Geography.” In Focus: Non-Western Historiography. 50, no. 1 (Fall 2010): 147–154.

Chang, Jing Jing. Review of Playing to the World’s Biggest Audience: The Globalization of Chinese Film and TV by Michael Curtin. 50, no. 1 (Fall 2010): 173–175.

Christian, Aymar Jean. “Joe Swanberg, Intimacy, and the Digital Aesthetic.” 50, no. 4 (Summer 2011): 117–135. LOL (Joe Swanberg, 2006) is a product of Internet and early twenty-first-century cultures. Responding to its time, the film posits a distinct vision and artistic practice, one espousing a digital aesthetic intended to create a radical sense of intimacy.

Church, David. “From Exhibition to Genre: The Case of Grind-House Films.” 50, no. 4 (Summer 2011): 1–25. Boasting cheap tickets and lurid films, grind houses complicated Hollywood’s hold on the distribution chain during the studio era. To manage this economic competition, grind houses were increasingly coded as “bad objects” through industrial and critical discourse, leading to the “genrification” of so-called grind-house films during the post-studio era.

Daly, Kristen. “Cinema 3.0: The Interactive-Image.” 50, no. 1 (Fall 2010): 81–98. Cinema is taking on the characteristics of new media, existing in a networked, intertextual space, which enables new developments in narrative that are increasingly interactive. Using examples from a variety of different genres, this essay analyzes how narrative might mimic the work, play, and networks of the contemporary digital society.

Dittmar, Linda. Review of Palestinian Cinema: Landscape, Trauma, and Memory by Nurith Gertz and George Khleifi. 50, no. 1 (Fall 2010): 167–169.

Duckett, Victoria. Festival Report. Women and the Silent Screen VI: Bologna, Italy, June 24–26, 2010. 50, no. 3 (Spring 2011): 102–105.

Flaig, Paul. “Lacan’s Harpo.” 50, no. 4 (Summer 2011): 98–116. This essay develops a reading of the Marx Brothers’ films following Lacan’s discussion of Harpo Marx in his Seminar VII. Analyzing Harpo’s role as an object-machine of enjoyment, it connects his status, as well as the larger realm of the brothers’ humor, to Lacan’s...