Cinema Journal Annotated Index to Volume 46
Cinema Journal Annotated Index to Volume 46
Aufderheide, Patricia. See Peter Jaszi.
Bernardi, Daniel. Racism and Pornography: Evidence, Paradigms, and Publishing. In Focus: Visual Culture, Scholarship, and Sexual Images. 46:4 (summer 2007): 116–121.
Berry, Chris. Wu Wenguang: An Introduction. In Focus: Documentary. 46:1 (fall 2006): 133–136.
Capino, Jose. Seizing Moving Image Pornography. In Focus: Visual Culture, Scholarship, and Sexual Images. 46:4 (summer 2007): 121–126.
Compton, Margaret. The Archivist, the Scholar, and Access to Historic Television Materials. In Focus: the 21st Century Archive. 46:3 (spring 2007): 129–133.
Decherney, Peter. From Fair Use to Exemption. In Focus: Fair Use and Film. 46:2 (winter 2007): 117–127.
Ginsburg, Faye. Rethinking Documentary in the Digital Age. In Focus: Documentary. 46:1 (fall 2006): 128–133.
Griffiths, Allison. The Revered Gaze: The Medieval Imaginary of Mel Gibson s The Passion of the Christ. 46:2 (winter 2007): 3–39.
This essay investigates medieval cathedrals, the Cyclorama of Jerusalem panorama painted in 1895, and Mel Gibson s 2004 film, The Passion of the Christ as distinct but related ways of experiencing the Crucifixion, or Christ s Passion. Inscribed in each of these case studies is a notion of the revered gaze, a way of encountering and making sense of images that are intended to be spectacular in form and content. While distinct media clearly present unique possibilities for altering the nature of the Passion narrative, I argue in this essay that there are remarkable consistencies in the aesthetics and practices of the crucifixion as a transhistorical story.
This essay investigates medieval cathedrals, the Cyclorama of Jerusalem panorama painted in 1895, and Mel Gibson s 2004 film, The Passion of the Christ as distinct but related ways of experiencing the Crucifixion, or Christ s Passion. Inscribed in each of these case studies is a notion of the revered gaze, a way of encountering and making sense of images that are intended to be spectacular in form and content. While distinct media clearly present unique possibilities for altering the nature of the Passion narrative, I argue in this essay that there are remarkable consistencies in the aesthetics and practices of the crucifixion as a transhistorical story.
Jacobs, Katrien. Academic Cult Erotica: Fluid Beings or A Cubicle of Our Own? In Focus: Visual Culture, Scholarship, and Sexual Images. 46:4 (summer 2007): 126–129.
Jaszi, Peter, and Patricia Aufderheide. Untold Stories: Collaborative Research on Documentary Filmmakers Free Speech and Fair Use. In Focus: Fair Use and Film. 46:2 (winter 2007): 133–139.
Kirste, Lynne. Collective Effort: Archiving LGBT Moving Images. In Focus: the 21st Century Archive. 46:3 (spring 2007): 134–140.
Kleinhans, Chuck. Conference Update. In Focus: Visual Culture, Scholarship, and Sexual Images. 46:4 (summer 2007): 129–131.
Kleinhans, Chuck. Introduction: Prior Retsraints. In Focus: Visual Culture, Scholarship, and Sexual Images. 46:4 (summer 2007): 96–100.
Lehman, Peter. You and Voyeurweb: Illustrating the Shifting Representation of the Penis on the Internet with User-Generated Content. In Focus: Visual Culture, Scholarship, and Sexual Images. 46:4 (summer 2007): 108–116.
Leopard, Dan. Blackboard Jungle: The Ethnographic Narratives of Education on Film. 46:4 (summer 2007): 24–44.
In this essay, the 1955 film Blackboard Jungle serves as the conceptual template for an examination of otherness and authenticity as expressed through the narrative tropes of the arrival scene and the pedagogical breakthrough in fiction films that feature teachers as protagonists and ethnographies that foreground the ethnographer as subject.
In this essay, the 1955 film Blackboard Jungle serves as the conceptual template for an examination of otherness and authenticity as expressed through the narrative tropes of the arrival scene and the pedagogical breakthrough in fiction films that feature teachers as protagonists and ethnographies that foreground the ethnographer as subject.
Lewis, Jon. If You Can t Protect What You Own, You Don t Own Anything : Piracy, Privacy, and Public Relations in 21st Century Hollywood. In Focus: Fair Use and Film. 46:2 (winter 2007): 145–152.
Limbrick, Peter. The Australian Western, or, A Settler Colonial Cinema par excellence. 46:4 (summer 2007): 68–95.
This essay considers the production history and reception of three of Ealing Studios Australian films—The Overlanders, Eureka Stockade, and Bitter Springs—to better understand the films imperial and colonial underpinnings and to position [End Page 161] these Australian westerns as examples of a settler colonial mode of cinema.
This essay considers the production history and reception of three of Ealing Studios Australian films—The Overlanders, Eureka Stockade, and Bitter Springs—to better understand the films imperial and colonial underpinnings and to position [End Page 161] these Australian westerns as examples of a settler colonial mode of cinema.
Lohmann, Fred Von. Fair Use, Film, and the Advantages of Internet Distribution. In Focus: Fair Use and Film. 46:2 (winter 2007): 128–133.
Lowenstein, Adam. The Surrealism of the Photographic Image: Bazin, Barthes, and the Digital Sweet Hereafter. 46:3 (spring 2007): 54–82.
This essay analyzes the influence of surrealism on Bazin and Barthes to argue that their commitment to photographic realism is more accurately described as an investment in surrealism. This revised take on the work of Bazin and Barthes is tested against notions of cinema in the age of new media...
This essay analyzes the influence of surrealism on Bazin and Barthes to argue that their commitment to photographic realism is more accurately described as an investment in surrealism. This revised take on the work of Bazin and Barthes is tested against notions of cinema in the age of new media...
