In this Issue

Table of Contents

Editor's Introduction

Loren Baybrook
p. 3
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High Noon: The Hollywood Blacklist and the Making of an American Classic by Glenn Frankel, and: The Broadcast 41: Women and the Anti-Communist Blacklist by Carol A. Stabile (review)

Christine D'Auria
pp. 4-6
DOI: https://doi.org/10.1353/flm.2019.0038
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Bollywood in Britain: Cinema, Brand, Discursive Complex by Lucia Krämer (review)

Kinga Földváry
pp. 7-9
DOI: https://doi.org/10.1353/flm.2019.0039
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Archiveology: Walter Benjamin and Archival Film Practices by Catherine Russell (review)

Joshua Wiebe
pp. 10-12
DOI: https://doi.org/10.1353/flm.2019.0040
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The Colour Fantastic: Chromatic Worlds of Silent Cinema ed. by Giovanna Fossati, et al. (review)

Denise Mok
pp. 13-15
DOI: https://doi.org/10.1353/flm.2019.0041
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Celluloid War Memorials: The British Instructional Films Company and the Memory of the Great War by Mark Connelly (review)

Martin Stollery
pp. 16-17
DOI: https://doi.org/10.1353/flm.2019.0042
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Disposable Passions: Vintage Pornography and the Material Legacies of Adult Cinema by David Church (review)

Erin Wiegand
pp. 18-20
DOI: https://doi.org/10.1353/flm.2019.0043
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Everybody Sing! Community Singing in the American Picture Palace by Esther M. Morgan-Ellis (review)

Bernard F. Dick
p. 21
DOI: https://doi.org/10.1353/flm.2019.0044
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Melodrama Unbound: Across History, Media, and National Cultures ed. by Christine Gledhill and Linda Williams (review)

Kinga Földváry
pp. 22-23
DOI: https://doi.org/10.1353/flm.2019.0045
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Poland Daily: Economy, Work, Consumption and Social Class in Polish Cinema by Ewa Mazierska (review)

Jonathan Owen
pp. 24-25
DOI: https://doi.org/10.1353/flm.2019.0024
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Science Fiction Cinema and 1950s Britain: Recontextualizing Cultural Anxiety by Matthew Jones (review)

Mark Klobas
pp. 26-27
DOI: https://doi.org/10.1353/flm.2019.0025
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1968 and Global Cinema ed. by Christina Gerhardt and Sara Saljoughi (review)

Ryan Sherwood
pp. 28-30
DOI: https://doi.org/10.1353/flm.2019.0026
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L.A. Private Eyes by Dahlia Schweitzer (review)

Matthew Sorrento
pp. 31-33
DOI: https://doi.org/10.1353/flm.2019.0027
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Jojo Rabbit

Benjamin Franz
pp. 34-36
DOI: https://doi.org/10.1353/flm.2019.0028
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Peterloo

Thomas Prasch
pp. 37-39
DOI: https://doi.org/10.1353/flm.2019.0029
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Red Joan

John Ordway
pp. 40-42
DOI: https://doi.org/10.1353/flm.2019.0030
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The Irishman

Robert Hensley-King
pp. 43-45
DOI: https://doi.org/10.1353/flm.2019.0031
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The Aftermath

Allison Schmidt
pp. 46-47
DOI: https://doi.org/10.1353/flm.2019.0032
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Downton Abbey

Julie Anne Taddeo
pp. 48-50
DOI: https://doi.org/10.1353/flm.2019.0033
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The Circus

A Bowdoin Van Riper
pp. 51-53
DOI: https://doi.org/10.1353/flm.2019.0034
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Burning

Michael C. Reiff
pp. 54-57
DOI: https://doi.org/10.1353/flm.2019.0035
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Two Takes On Harriet

Andrea Schmidt, Frank Fucile
pp. 58-63
DOI: https://doi.org/10.1353/flm.2019.0036
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