In this Issue

Table of Contents

Introduction

pp. 1-2
DOI: https://doi.org/10.1353/vlt.2006.0014
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The Cinema of Affections: The Transformation of Authorship in British Cinema before 1907

Joe Kember
pp. 3-16
DOI: https://doi.org/10.1353/vlt.2006.0017
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Studio Authorship, Warner Bros., and The Fountainhead

Jerome Christensen
pp. 17-31
DOI: https://doi.org/10.1353/vlt.2006.0012
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"Some Kind of a Man": Orson Welles as Touch of Evil's Masculine Auteur

Brooke Rollins
pp. 32-41
DOI: https://doi.org/10.1353/vlt.2006.0021
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A Point of Little Hope: Hippie Horror Films and the Politics of Ambivalence

Matt Becker
pp. 42-59
DOI: https://doi.org/10.1353/vlt.2006.0011
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Marketing David Mamet: Institutionally Assigned Film Authorship in Contemporary American Cinema

Yannis Tzioumakis
pp. 60-75
DOI: https://doi.org/10.1353/vlt.2006.0023
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Exorcizing/Exercising Treachery: Robust Subjectivity in Lourdes Portillo's The Devil Never Sleeps

Monica F. Torres
pp. 76-85
DOI: https://doi.org/10.1353/vlt.2006.0022
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Technology in Search of an Artist: Questions of Auteurism/Authorship and the Contemporary Cinematic Experience

Anna Notaro
pp. 86-97
DOI: https://doi.org/10.1353/vlt.2006.0019
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Book Reviews

The Coen Brothers' "Fargo" (review)

Kristen Grant
pp. 98-100
DOI: https://doi.org/10.1353/vlt.2006.0015
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Film and Authorship (review)

David Gurney
pp. 101-104
DOI: https://doi.org/10.1353/vlt.2006.0016
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Alexander Dovzhenko: A Life in Soviet Film (review)

James Murray
pp. 105-107
DOI: https://doi.org/10.1353/vlt.2006.0018
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An Eye for Hitchcock (review)

Elliot Panek
pp. 108-111
DOI: https://doi.org/10.1353/vlt.2006.0020
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Contributors

Contributors

p. ii
DOI: https://doi.org/10.1353/vlt.2006.0013
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