Index to Volume 63

Berliner, Todd, and Dale J. Cohen. “The Illusion of Continuity: Active Perception and Classical Editing System.” 63.1 (Spring 2011): 44–63.

Bierman, Joseph. Rev. of Cinema at the Periphery, edited by Dina Iordanova, David Martin-Jones, and Belén Vidal. 63.2 (Summer 2011): 56–58.

———. “What The Quiet Man Said: Shifting Contexts and the Polysemy of the Text.” 63.3 (Fall 2011): 30–44.

Bonnstetter, Beth E. “Mel Brooks Meets Kenneth Burke (and Mikhail Bakhtin): Comedy and Burlesque in Satiric Film.” 63.1 (Spring 2011): 18–31.

Boruszkowski, Lilly Ann. “Editing Subject-Filmed Documentary: Steve James and The War Tapes.” 63.4 (Winter 2011): 44–52.

Bruker, Malia. Rev. of Red, White & Black: Cinema and the Structure of U.S. Antagonisms, by Frank B. Wilderson III. 63.4 (Winter 2011): 66–69.

Church, David. “Freakery, Cult Films, and the Problem of Ambivalence.” 63.1 (Spring 2011): 3–17.

Cleveland, Sean. Rev. of Why We Fought: America’s Wars in Film and History, edited by Peter C. Rollins. 63.1 (Spring 2011): 69–71.

Fleeger, Jennifer. Rev. of The Religious Film: Christianity and the Hagiopic, by Pamela Grace. 63.4 (Winter 2011): 64–66.

Freeman, Mark. Rev. of Three Documentary Filmmakers: Erroll Morris, Ross McElwee, Jean Rouch. 63.4 (Spring 2011): 59–61.

Greenberg, Raz. “The Animated Text: Definition.” 63.2 (Summer 2011): 3–10.

Greene, Jane M. “A Proper Dash of Spice: Screwball Comedy and the Production Code.” 63.3 (Fall 2011): 45–63.

Hemenway, Paul T. M. Revs. of The Production Assistant’s Pocket Handbook: Because Nobody Has Time to Tell You What You Need to Know, by Caleb Clark; Film Crew 101: Tips, Tricks & Secrets for Success from Motion Picture Professionals, by Peter Clarson; and Media Career Guide 7: Preparing for Jobs in the 21st Century, by James Seguin and Sherri Hope Culver. 63.4 (Winter 2011): 63–64.

Klecker, Cornelia. “Chronology, Causality . . . Confusion: When Avant-Garde Goes Classic.” 63.2 (Summer 2011): 11–27.

Lowe, Victoria. “‘Something That Is US’: Robert Donat, Screen Performance, and Stardom in the 1930s.” 63.3 (Fall 2011): 13–29.

Martin, Carey. Rev. of Scenes of Instruction: The Beginnings of U.S. Study of Film, by Dana Polan. 63.1 (Spring 2011): 66–67.

Medak-Seguín, Bécquer. Rev. of Confronting the “Dirty War” in Argentine Cinema, 1983–1993: Memory and Gender in Historical Representations, by Constanza Burucúa. 63.4 (Winter 2011): 62–63.

Musberger, Robert B. Rev. of Digital Storytelling: The Narrative Power of Visual Effects in Film, by Shilo T. McClean. 63.1 (Spring 2011): 67–69.

Nowell, Richard. “‘The Ambitions of Most Independent Filmmakers’: Indie Production, the Majors, and Friday the 13th (1980).” 63.2 (Summer 2011): 28–44.

Overton, Hamp. Rev. of Clearance & Copyright: Everything You Need to Know for Film and Television, 3rd ed., by Michael C. Donaldson. 63.2 (Summer 2011): 58–60.

Philpot, Justin. Rev. of The Contemporary Hollywood Film Industry, by Paul McDonald and Janet Wasko. 63.1 (Spring 2011): 71–72.

Roth, Elaine, and Heather Addison. “The Wonders of Editing: An Interview with Mathilde Bonnefoy and Tom Tykwer.” 63.2 (Summer 2011): 45–55.

Sayad, Cecilia. “The Auteur as Fool: Bakhtin, Barthes, and the Screen Performances of Woody Allen and Jean-Luc Godard.” 63.4 (Winter 2011): 21–34.

Shastri, Sudha. “‘The play’s the thing, wherein I’ll catch the conscience of the king’: Intertextuality in Om Shanti Om.” 63.1 (Spring 2011): 32–43.

Slatton, Anne. Rev. of Global Bollywood, edited by Anandam P. Kavoori and Aswin Punathambekar. 63.1 (Spring 2011): 64–66.

Smith, Jacob. “A Distinguished Burglar: The Cinematic Life of a Criminal Social Type.” 63.4 (Winter 2011): 35–43.

Spadoni, Robert. “Old Times in Werewolf of London.” Vol. 63.4 (Winter 2011): 3–20.

Tadic, Darko. “Yugoslav Propaganda Film: Early Works (1945–52).” 63.3 (Fall 2011): 3–12.

Tomasulo, Frank P. Revs. of Citizen Spielberg, by Lester D. Friedman, and Directed by Steven Spielberg, by Warren Buckland. 63.4 (Winter 2011): 53–59.