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Volume 44, Number 1, Spring 2014

Table of Contents

The Reviews Issue

On Films

Muscle Shoals directed by Greg “Freddy” Camalier (review)

pp. 5-8

Beaches of Agnes directed by Agnés Varda (review)

pp. 8-12

Walking the Green Tiger directed by Gary Marcuse (review)

pp. 12-15

Stories We Tell directed by Sarah Polley (review)

pp. 15-17

The Army of Crime directed by: Robert Guédiguian (review)

pp. 17-21

Lang ist der Weg directed by Herbert B. Fredersdorf and Marek Goldstein, and: Morituri directed by Eugen York (review)

pp. 22-24

The Act of Killing directed by Joshua Oppenheimer (review)

pp. 24-27

In the Fog [V tumane] directed by Sergei Loznitsa (review)

pp. 27-29

The Last Extinction: Megabeasts’ Sudden Death written and produced by Doug Hamilton (review)

pp. 29-32

Altiplano directed by Peter Brosens and Jessica Woodworth (review)

pp. 32-35

Black Sun: The Mythological Background of National Socialism directed by Riidiger Siinner (review)

pp. 35-37

Charlie Wilson's War directed by Mike Nichols (review)

pp. 38-40

Young Goethe in Love directed by Philippe Stoelzl (review)

pp. 41-44

Pacific Rim Directed by Guillermo del Toro (review)

pp. 44-47

The Great Hip Hop Hoax directed by Jeanie Finlay (review)

pp. 47-48

The Rape of Europa by Richard Berge, Nicole Newnham, and Bonni Cohen (review)

pp. 49-51

Mitt directed by Greg Whiteley (review)

pp. 51-54

On Books

Becoming Jack Nicholson: The Masculine Persona from Easy Rider to The Shining by Shawn R. Karli (review)

pp. 55-57

Welsh Mythology and Folklore in Popular Culture: Essays on Adaptations in Literature, Film, Felevision, and Digital Media edited by Audrey L. Becker and Kristin Noone (review)

pp. 58-59

Cinema and Social Change in Germany and Austria edited by Gabrielle Mueller and James M. Skidmore (review)

pp. 59-61

Cinema and Colour: The Saturated Image by Paul Coates (review)

pp. 61-64

Col. William N. Selig, the Man Who Invented Hollywood by Andrew A. Erish (review)

pp. 65-67

Concentrationary Cinema: Aesthetics as Political Resistance in Alain Renais’s Night and Fog edited by Griselda Pollock and Max Silverman (review)

pp. 68-70

The Neuro-Image: A Deleuzian Film-Philosophy of Digital Screen Culture by Patricia Pisters (review)

pp. 71-74

Hitchcock at the Source, the Auteur as Adaptor edited by R. Barton Palmer and David Boyd (review)

pp. 74-77

Hollywood and Hitler, 1933-1939 by Thomas Doherty (review)

pp. 77-79

The Films of Joseph H. Lewis edited by Gary D. Rhodes (review)

pp. 79-82

Authorship and the Films of David Lynch: Aesthetic Receptions of Contemporary Hollywood by Antony Todd (review)

pp. 82-84

Nickelodeon City: Pittsburgh at the Movies, 1905-1929 by Michael Aronson (review)

pp. 85-86

Peckinpah Today: New Essays on the Films of Sam Peckinpah edited by Michael, Bliss (review)

pp. 87-89

The Adaptation of History: Essays on Ways of Telling the Past edited by Laurence Raw and Defne Ersin Tutan (review)

pp. 89-91

Undead in the West: Vampires, Zombies, Mummies and Ghosts on the Cinematic Frontier edited by Cynthia J. Miller and A. Bowdoin Van Riper (review)

pp. 91-93

Goodbye Cinema, Hello Cinephilia: Film Culture in Transition by Jonathan Rosenbaum (review)

pp. 93-96

Television, Japan, and Globalization edited by Mitsuhiro Yoshimoto, Eva Tsai, and JungBong Choi (review)

pp. 96-98

Bad History and the Logics of Blockbuster Cinema: Titanic, Gangs of New York, Australia, Inglourious Basterds by Patrick Mcgec (review)

pp. 98-101

Widescreen Worldwide edited by John Belton, Sheldon Hall, and Steve Neale (review)

pp. 101-103

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