Project MUSE - Film & History: An Interdisciplinary Journal-Volume 49, Number 1, Summer 2019

Devil in the Details: The Uncanny History of The Witch (2015)

Aviva Briefel

pp. 4-20

DOI: https://doi.org/10.1353/flm.2019.0002

"It's too late…Not for me": The Graduate (1967) and the History of Women

Sherri Cash

pp. 21-38

DOI: https://doi.org/10.1353/flm.2019.0003

The Ambivalent Treatment of Counter-cultural Identity in the "Outlaw Biker" Film, 1966-72

Ben Medeiros

pp. 39-49

DOI: https://doi.org/10.1353/flm.2019.0014

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Assimilating the Feminist Voice in Service Comedies, 1941-1980

William R. Glass

pp. 50-62

DOI: https://doi.org/10.1353/flm.2019.0008

A Place of Darkness: The Rhetoric of Horror in Early American Cinema by Kendall R Phillips (review)

Brittany Caroline Speller

pp. 63-64

DOI: https://doi.org/10.1353/flm.2019.0018

Specters of Slapstick and Silent Film Comediennes by Maggie Hennefeld (review)

Rebecca Burditt

pp. 65-67

DOI: https://doi.org/10.1353/flm.2019.0011

A Companion to the War Film ed. by Douglas Cunningham and John Nelson (review)

J. Davis Winkie

pp. 68-69

DOI: https://doi.org/10.1353/flm.2019.0004

Dancing with the Nation: Courtesans in Bombay Cinema by Ruth Vanita (review)

Mobeen Hussain

pp. 70-71

DOI: https://doi.org/10.1353/flm.2019.0023

When Broadway Went to Hollywood by Ethan Mordden (review)

Bernard F. Dick

pp. 72-73

DOI: https://doi.org/10.1353/flm.2019.0015

Father Knows Best (TV Milestones Series) by Mary Desjardins (review)

Jesse Schlotterbeck

pp. 74-75

DOI: https://doi.org/10.1353/flm.2019.0005

Show Trial: Hollywood, HUAC, and the Birth of the Blacklist by Thomas Doherty (review)

Justin Gautreau

pp. 76-77

DOI: https://doi.org/10.1353/flm.2019.0006

The Cinema of Oliver Stone: Art, Authorship and Activism by Ian Scott and Henry Thompson (review)

Jonathan Hayes

pp. 78-80

DOI: https://doi.org/10.1353/flm.2019.0019

John Lasseter by Richard Neupert (review)

Paula Murphy

pp. 81-83

DOI: https://doi.org/10.1353/flm.2019.0016

1939: Hollywood's Greatest Year by Thomas S. Hischak (review)

Douglas Long

pp. 84-86

DOI: https://doi.org/10.1353/flm.2019.0012

Medieval Saints and Modern Screens: Divine Visions as Cinematic Experience by Alicia Spencer-Hall (review)

Anthony Ballas

pp. 87-89

DOI: https://doi.org/10.1353/flm.2019.0021

Menus For Movieland: Newspapers and the Emergence of American Film Culture 1913-1916 by Richard Abel (review)

Chris Yogerst

p. 90

DOI: https://doi.org/10.1353/flm.2019.0000

Political Theory and Film: From Adorno to Žižek by Ian Fraser (review)

Nenad Jovanovic

pp. 91-93

DOI: https://doi.org/10.1353/flm.2019.0007

The Palgrave Handbook of Posthumanism in Film and Television by Michael Hauskeller, Thomas Philbeck, and Curtis Carbonell (review)

Lantz Fleming Miller

pp. 94-96

DOI: https://doi.org/10.1353/flm.2019.0010

When Warners Brought Broadway to Hollywood, 1923-1939 by Martin Shingler (review)

Scott Balcerzak

pp. 97-98

DOI: https://doi.org/10.1353/flm.2019.0020

Robin Wood on the Horror Film: Collected Essays and Reviews ed. by Barry Keith Grant (review)

Khara Lukancic

pp. 99-100

DOI: https://doi.org/10.1353/flm.2019.0009

Off to the Pictures: Cinema-going, Women's Writing and Movie Culture in Interwar Britain by Lisa Stead (review)

Peter Niehoff

pp. 101-103

DOI: https://doi.org/10.1353/flm.2019.0022

The Westerns and War Films of John Ford by Sue Matheson (review)

Robert Weldon Whalen

pp. 104-105

DOI: https://doi.org/10.1353/flm.2019.0013

The History of Cinema: A Very Short Introduction by Geoffrey Nowell-Smith, and: Hollywood: A Very Short Introduction by Peter Decherney (review)

Rebecca Weeks

pp. 106-107

DOI: https://doi.org/10.1353/flm.2019.0017

Reform Cinema in Iran: Film and Political Change in the Islamic Republic by Blake Atwood (review)

Jean-Baptiste De Vaulx

pp. 108-109

DOI: https://doi.org/10.1353/flm.2019.0001

ISSN	1548-9922
Print ISSN	0360-3695
Launched on MUSE	2019-09-10
Open Access	No

Film & History: An Interdisciplinary Journal

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