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Volume 54, Number 1, Spring 2013

Table of Contents

Editorial

pp. 5-6 | DOI: 10.1353/frm.2013.0009

Shadow Lives: Josephine Baker and the Body of Cinema

pp. 7-39 | DOI: 10.1353/frm.2013.0012

Two Degrees of Separation: Xhanfise Keko and the Albanian Children's Film

pp. 40-58 | DOI: 10.1353/frm.2013.0000

"The Gland School": Gertrude Atherton and the Two Black Oxen

pp. 59-76 | DOI: 10.1353/frm.2013.0002

Dossier: Architects on Film: Architects on the Frame

Introduction

pp. 79-81 | DOI: 10.1353/frm.2013.0004

Good Morning, Babylon: The Cathedral Is a Movie

pp. 82-84 | DOI: 10.1353/frm.2013.0006

The Epic Frame

pp. 85-87 | DOI: 10.1353/frm.2013.0008

Langsamkeit/Slowness: Meditating on the Frame: Blind Spots and the Construction of Erotic Space in Andrei Tarkovsky's Nostalgia

pp. 88-94 | DOI: 10.1353/frm.2013.0011

Black and White Equals Gray

pp. 95-97 | DOI: 10.1353/frm.2013.0014

Medianeras/Sidewalls: A Film by Gustavo Taretto

pp. 98-101 | DOI: 10.1353/frm.2013.0001

Out of Body Experience

pp. 102-104 | DOI: 10.1353/frm.2013.0003

Framing

pp. 105-107 | DOI: 10.1353/frm.2013.0005

Dark Matter

pp. 108-110 | DOI: 10.1353/frm.2013.0007

Silenzio! Fade Out into Blue: Notes on the Visual Presence of Absence in the Closure Frame of Le m├ępris

pp. 111-113 | DOI: 10.1353/frm.2013.0010

Kiss Me Deadly

pp. 114-119 | DOI: 10.1353/frm.2013.0013

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