The End Of Cinema As We Know It: American Film in the Nineties

Contributors

Contributors PAUL ARTHUR is a Professor of film and literature at Montclair State University. He is a regular contributor to Film Comment and Cineaste and is coeditor of Millennium Film Journal. WHEELER WINSTON DIXON is the Ryan Professor of Film Studies, chairperson of the film studies program, professor of English at the University of Nebraska, Lincoln, and the editor-in-chief of the Quarterly Review of Film and Video. His newest books are The Second Century of Cinema: The Past and Future of the Moving Image; Film Genre 2000: New Critical Essays ; and Disaster and Memory: Celebrity Culture and the Crisis of Hollywood. THOMAS DOHERTY is an associate professor of American studies and chair of the film studies program at Brandeis University. He serves on the editorial board of the film magazine Cineaste and is the author of Teenagers and Teenpics: The Juvenilization of American Movies in the 1950s; Projections of War: Hollywood, American Culture, and World War II; and Pre-Code Hollywood: Immorality and Insurrection in American Cinema, 1930–1934. THOMAS ELSAESSER is a professor in the department of art and culture at the University of Amsterdam and chair of film and television studies. His writings on film theory, national cinema, and film history are frequently featured in collections and anthologies. His books as author and editor include New German Cinema: A History; Early Cinema: Space, Frame, Narrative; Writing for the Medium: Television in Transition; A Second Life: German Cinema’s First Decades; Fassbinder’s Germany: History, Identity, Subject; Cinema Futures: Cain, Abel or Cable; Weimar Cinema and After, and Metropolis. KRIN GABB ARD is a professor of comparative literature at the State University of New York at Stony Brook. He is the author of Jammin’ at the Margins: Jazz and the American Cinema and Psychiatry and the Cinema. 367 HENRY A. GIROUX is a writer and professor at the Pennsylvania State University. His most recent books include Stealing Innocence; Impure Acts; Beyond the Corporate University; and Public Spaces, Private Lives: Beyond the Culture of Cynicism. HEATHER HENDERSHOT is an assistant professor of media studies at Queens College/CUNY. She is the author of Saturday Morning Censors: Television Regulation before the V-Chip, and she is currently completing a book on conservative evangelical Christian culture. JAN-CHRISTOPHER HORAK is curator at the Hollywood Entertainment Museum. He was founding director of archives and collections at Universal Studios; director of the Munich Filmmuseum; and senior curator of film at George Eastman House. He is a visiting professor in critical studies at UCLA, and has published books on film and photography , avant-garde cinema, the Hollywood studio system, German exiles in Hollywood, and Dr. Arnold Fanck. ALEXANDRA JUHASZ is an associate professor of media studies at Pitzer College. In the 1990s she wrote books about activist AIDS video (AIDS TV) and feminist media history (Women of Vision), and produced the feature film The Watermelon Woman as well as other feminist/activist media. CHARLIE KEIL is an associate professor of history and cinema studies at the University of Toronto. He is the author of Early American Cinema in Transition: Story, Style and Filmmaking, 1907–1913 and has published extensively on early cinema. CHUCK KLEINHANS coedits Jump Cut: A Review of Contemporary Media and is director of graduate studies, radio/television/film at Northwestern University. His current research develops a sociological aesthetics of U.S. experimental film/video. JON LEWIS is a professor of English at Oregon State University, where he has taught film and cultural studies since 1983. His books include: The Road to Romance and Ruin: Teen Films and Youth Culture; Whom God Wishes to Destroy . . . Francis Coppola and the New Hollywood; Hollywood v. 368 CONTRIBUTORS Hard Core: How the Struggle over Censorship Saved the Modern Film Industry ; and (as editor) The New American Cinema. ERIC S. MALLIN is an associate professor of English at the University of Texas at Austin, where he specializes in Shakespeare and early modern literature. His essay here is part of his forthcoming study on the transformations of Shakespearean texts and subtexts in popular cinema. LAURA U. MARKS, a critic, theorist, and curator of independent media , is an assistant professor of film studies at Carleton University. She is the author of The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses. KATHLEEN Mc HUGH, an associate professor of comparative literature and film, teaches in the film and visual culture program at the University of...