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In this Issue

Table of Contents

  1. Editorial
  2. Paul Cronin, James Riley, Drake Stutesman
  3. pp. 9-11
  4. DOI: https://doi.org/10.1353/frm.2011.0030
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  1. "The Wanderer," Part 1
  2. Peter Whitehead
  3. pp. 15-26
  4. DOI: https://doi.org/10.1353/frm.2011.0027
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  1. Peter Whitehead: The Slade Years
  2. Henry K. Miller
  3. pp. 28-49
  4. DOI: https://doi.org/10.1353/frm.2011.0037
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  1. Early Film Documents
  2. Peter Whitehead
  3. pp. 50-63
  4. DOI: https://doi.org/10.1353/frm.2011.0046
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  1. Hors d'oeuvre: Science, the Short Film, and The Perception of Life
  2. James Leo Cahill
  3. pp. 66-82
  4. DOI: https://doi.org/10.1353/frm.2011.0055
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  1. Peter Whitehead's The Perception of Life and the Biological Aesthetic
  2. Catherine Zimmer
  3. pp. 83-90
  4. DOI: https://doi.org/10.1353/frm.2011.0005
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  1. The Perception of Life Documents
  2. Peter Whitehead
  3. pp. 91-100
  4. DOI: https://doi.org/10.1353/frm.2011.0014
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  1. Wholly Communion, Literary Nationalism, and the Sorrows of the Counterculture
  2. Daniel Kane
  3. pp. 102-127
  4. DOI: https://doi.org/10.1353/frm.2011.0023
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  1. Wholly Communion: Truths, Histories, and the Albert Hall Poetry Reading
  2. Mark Donnelly
  3. pp. 128-143
  4. DOI: https://doi.org/10.1353/frm.2011.0033
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  1. Wholly Communion: Scenario, Film, Novelization
  2. David Sterritt
  3. pp. 145-163
  4. DOI: https://doi.org/10.1353/frm.2011.0042
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  1. Wholly Communion: Notes on the Filming
  2. Peter Whitehead
  3. pp. 164-165
  4. DOI: https://doi.org/10.1353/frm.2011.0051
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  1. Wholly Communion: Films and Filming Review 1966
  2. Raymond Durgnat
  3. pp. 166-168
  4. DOI: https://doi.org/10.1353/frm.2011.0001
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  1. Through the Lens, Darkly: Peter Whitehead and The Rolling Stones
  2. Victor Coelho
  3. pp. 170-191
  4. DOI: https://doi.org/10.1353/frm.2011.0010
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  1. Charlie Is My Darling, Press Release
  3. pp. 192-193
  4. DOI: https://doi.org/10.1353/frm.2011.0019
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  1. Charlie Is My Darling, Review, Variety, 1966
  3. pp. 194-195
  4. DOI: https://doi.org/10.1353/frm.2011.0058
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  1. Letters to Andrew Oldham
  2. Peter Whitehead
  3. pp. 196-208
  4. DOI: https://doi.org/10.1353/frm.2011.0029
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  1. Two Film Treatments: "Proposal" and Mein Campf
  2. Peter Whitehead
  3. pp. 209-217
  4. DOI: https://doi.org/10.1353/frm.2011.0039
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  1. Film Treatment: Orpheus Inc.
  2. Peter Whitehead
  3. pp. 218-221
  4. DOI: https://doi.org/10.1353/frm.2011.0068
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  1. Charlie Is My Darling Review, Films and Filming, 1966
  2. Robin Bean
  3. p. 222
  4. DOI: https://doi.org/10.1353/frm.2011.0071
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  1. The Sergeant (review)
  2. Peter Whitehead
  3. pp. 223-235
  4. DOI: https://doi.org/10.1353/frm.2011.0072
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  1. Thomas the Imposter (review)
  2. Peter Whitehead
  3. pp. 224-227
  4. DOI: https://doi.org/10.1353/frm.2011.0066
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  1. Films and Filming Reviews, 1966-1969
  2. Peter Whitehead
  3. pp. 224-241
  4. DOI: https://doi.org/10.1353/frm.2011.0008
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  1. Paris vu par . . . (review)
  2. Peter Whitehead
  3. pp. 227-230
  4. DOI: https://doi.org/10.1353/frm.2011.0067
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  1. Coogan's Bluff (review)
  2. Peter Whitehead
  3. pp. 230-233
  4. DOI: https://doi.org/10.1353/frm.2011.0069
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  1. Theorem (review)
  2. Peter Whitehead
  3. pp. 235-238
  4. DOI: https://doi.org/10.1353/frm.2011.0062
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  1. Oedipus Rex (review)
  2. Peter Whitehead
  3. pp. 238-240
  4. DOI: https://doi.org/10.1353/frm.2011.0064
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  1. Standing in the Shadow: Peter Whitehead, Swinging London's Insider/Outsider
  2. Steve Chibnall
  3. pp. 244-277
  4. DOI: https://doi.org/10.1353/frm.2011.0048
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  1. Whitehead's London: Pop and the Ascendant Celebrity
  2. Kevin M. Flanagan
  3. pp. 278-298
  4. DOI: https://doi.org/10.1353/frm.2011.0057
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  1. Other than Vérité: Sound and Moving Image in the Rock Music Documentaries of Peter Whitehead
  2. Thomas F. Cohen
  3. pp. 299-312
  4. DOI: https://doi.org/10.1353/frm.2011.0007
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  1. Tonite Let's All Make Love in London
  3. p. 313
  4. DOI: https://doi.org/10.1353/frm.2011.0016
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  1. Tonite Let's All Make Love in London, New York Film Festival Press Release
  2. Peter Whitehead
  3. p. 314
  4. DOI: https://doi.org/10.1353/frm.2011.0059
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  1. Tonite Let's All Make Love in London Review, Films and Filming, 1968
  2. Raymond Durgnat
  3. pp. 315-318
  4. DOI: https://doi.org/10.1353/frm.2011.0025
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  1. Tonite Let's All Make Love in London Review, Variety, 1967
  3. pp. 319-320
  4. DOI: https://doi.org/10.1353/frm.2011.0035
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  1. National Film Finance Letter on Tonite Let's All Make Love in London, 1967
  3. p. 321
  4. DOI: https://doi.org/10.1353/frm.2011.0013
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  1. Solicitor Letter on Tonite Let's All Make Love in London, 1967
  3. p. 322
  4. DOI: https://doi.org/10.1353/frm.2011.0022
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  1. Shooting Star: Peter Whitehead and 1960s Documentary
  2. Michael Chanan
  3. pp. 324-331
  4. DOI: https://doi.org/10.1353/frm.2011.0044
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  1. On Independence
  2. Peter Whitehead
  3. p. 332
  4. DOI: https://doi.org/10.1353/frm.2011.0053
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  1. "More Problems than Solutions," 1967
  2. Peter Whitehead, Presley Parks
  3. pp. 333-334
  4. DOI: https://doi.org/10.1353/frm.2011.0003
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  1. Interview with Peter Whitehead
  2. Peter Whitehead
  3. pp. 335-336
  4. DOI: https://doi.org/10.1353/frm.2011.0012
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  1. An Excellent Lesson in Partisan Theater, 1968
  2. Jean d'Yvoire, Presley Parks
  3. pp. 337-338
  4. DOI: https://doi.org/10.1353/frm.2011.0021
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  1. Benefit of the Doubt, Review, 1965
  2. Nicole Zand, Presley Parks
  3. pp. 339-340
  4. DOI: https://doi.org/10.1353/frm.2011.0031
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  1. Benefit of the Doubt, Review, Variety, 1967
  3. pp. 341-342
  4. DOI: https://doi.org/10.1353/frm.2011.0032
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  1. Letters about Benefit of the Doubt, 1967
  2. Dick Patterson, Peter Whitehead
  3. pp. 343-348
  4. DOI: https://doi.org/10.1353/frm.2011.0041
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  1. Lorrimer Letters
  2. Peter Whitehead, Lawrence Ferlinghetti, Thorold Dickinson
  3. pp. 350-360
  4. DOI: https://doi.org/10.1353/frm.2011.0050
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  1. Lorrimer Books Advertisement, 1967
  3. p. 361
  4. DOI: https://doi.org/10.1353/frm.2011.0060
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  1. "The Ultimate Doomed Victims of the Romantic Dream": Jean-Luc Godard/Peter Whitehead
  2. Nicole Brenez, Presley Parks
  3. pp. 367-385
  4. DOI: https://doi.org/10.1353/frm.2011.0074
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  1. Jean-Luc: I Hate You!
  2. Peter Whitehead
  3. pp. 386-388
  4. DOI: https://doi.org/10.1353/frm.2011.0009
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  1. Pierrot le Fou (review)
  2. Peter Whitehead
  3. pp. 389-392
  4. DOI: https://doi.org/10.1353/frm.2011.0070
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  1. Films and Filming: Godard Reviews, 1966-1969
  2. Peter Whitehead
  3. pp. 389-398
  4. DOI: https://doi.org/10.1353/frm.2011.0018
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  1. A Woman Is a Woman (review)
  2. Peter Whitehead
  3. pp. 392-393
  4. DOI: https://doi.org/10.1353/frm.2011.0073
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  1. Weekend (review)
  2. Peter Whitehead
  3. pp. 393-395
  4. DOI: https://doi.org/10.1353/frm.2011.0063
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  1. One Plus One
  2. Peter Whitehead
  3. pp. 395-398
  4. DOI: https://doi.org/10.1353/frm.2011.0065
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  1. Contract with Jean-Luc Godard for Lorrimer Edition of Alphaville
  2. Peter Whitehead
  3. pp. 399-400
  4. DOI: https://doi.org/10.1353/frm.2011.0028
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  1. The Warsaw Ghetto
  2. Peter Whitehead
  3. pp. 401-403
  4. DOI: https://doi.org/10.1353/frm.2011.0038
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  1. Re-creating the Gaze: Peter Whitehead's Cinema and the Films of Others
  2. Giandomenico Curi, Stacey Knecht
  3. pp. 404-417
  4. DOI: https://doi.org/10.1353/frm.2011.0047
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  1. From Alienation to Hallucination: Peter Whitehead's The Fall and the Politics of Perception in the 1960s
  2. Tina Rivers
  3. pp. 420-457
  4. DOI: https://doi.org/10.1353/frm.2011.0056
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  1. After The Fall: Politics, Representation, and the Permanence of Empire in the Cinema of Peter Whitehead
  2. Jeremy Varon
  3. pp. 458-479
  4. DOI: https://doi.org/10.1353/frm.2011.0006
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  1. Peter Whitehead's The Fall Revisited
  2. Marjorie Rosen
  3. pp. 480-483
  4. DOI: https://doi.org/10.1353/frm.2011.0015
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  1. The Fall Dossier: Extracts
  2. Peter Whitehead
  3. pp. 484-497
  4. DOI: https://doi.org/10.1353/frm.2011.0024
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  1. Two Film Treatments: Protest and The Fall
  2. Peter Whitehead
  3. pp. 498-524
  4. DOI: https://doi.org/10.1353/frm.2011.0034
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  1. Second Take of Imaginary Narration
  2. Peter Whitehead
  3. pp. 525-526
  4. DOI: https://doi.org/10.1353/frm.2011.0043
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  1. Manifesto: Re Self in Film
  2. Peter Whitehead
  3. pp. 527-528
  4. DOI: https://doi.org/10.1353/frm.2011.0052
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  1. The Inner Space Project, Review Essay, Afterimage: Film and Politics, 1970
  2. John Lyle
  3. pp. 529-535
  4. DOI: https://doi.org/10.1353/frm.2011.0002
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  1. I Destroy Therefore I Am . . . , Interview, Films and Filming, 1969
  2. Peter Whitehead
  3. pp. 536-546
  4. DOI: https://doi.org/10.1353/frm.2011.0011
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  1. I Dream Therefore I Am. I Doubt Therefore I Film, Guardian, 2002
  2. Peter Whitehead
  3. pp. 547-553
  4. DOI: https://doi.org/10.1353/frm.2011.0020
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  1. Acknowledgments
  2. Drake Stutesman
  3. p. 11
  4. DOI: https://doi.org/10.1353/frm.2011.0061
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  1. Peter Whitehead: Chronology
  3. pp. 13-14
  4. DOI: https://doi.org/10.1353/frm.2011.0049
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  1. Wholly Experience: Lorrimer Series Review, Films and Filming, 1966
  2. Sheridan Morley
  3. pp. 362-363
  4. DOI: https://doi.org/10.1353/frm.2011.0000
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