Online Cumulative Index to Cineaste Volume 1 (1967) through Volume XL (2015)


This Online Cumulative Index to Cineaste includes material published in the quarterly print edition of Cineaste, from Vol. I, No. 1 (1967) through Volume XL, No. 4 (2015). While we have done our best to make this index as comprehensive and as accurate as possible, we would appreciate being notified of any errors or omissions. Please note that copies of The Cineaste Cumulative Index, 1967–2001, which includes an introductory essay and the Editorial from our twentieth anniversary issue, are still available for sale through this Website.

Material published in Cineaste since our first issue are available through the JSTOR (Journal Storage) at www.jstor.com. ProQuest, which had previously offered the personalized Udini service, now asks that those affiliated with an academic institution create a ProQuest Flow account to help manage research. Flow is a full-text document and citation manager designed to help scholars organize and share research. Learn more about Flow’s features here. If you were a Udini user and are trying to access your account, use your Udini credentials to log in to Flow now to read, annotate, share and cite your documents.”

A listing of the “Web Exclusives” posted on our Website, which are not included in this Cumulative Index, can be found on the “Archives” section of our Website.

Key: First number is the volume number; second number is the issue number; third and subsequent numbers are page numbers. Articles are arranged alphabetically by author’s name; interviews are arranged alphabetically by interviewee’s name; film reviews by film title; and book reviews by book author’s name.

ARTICLES

Abraham, Shirley: “The Pilgrims of Cinema,” 35.2, 30-33

Abramson, Marc: “Mountains, Monks, and Mandalas: Kundun and Seven Years in Tibet,” 23:3, 8-12

Achugar, Walter: “Walter Achugar on Latin American Cinema,” 4:3, 35 & 52

Adorno, T.W.: “The Culture Industry,” 5:1, 8-11

Alea, Tomás Gutierréz: “I Wasn’t Always a Filmmaker,” 14:1, 36-68

Aleiss, Angela: “Iron Eyes Cody: Wannabe Indian,” 25:1, 30-31

—————: “Native Americans: The Surprising Silents,” 21:3, 34-35

Altman, Rick: “The Sound of Sound: A Brief History of the Reproduction of Sound in Movie Theaters,” 21:1-2, 68-71

Alvin, Rebecca M: “A Night at the Movies: From Art House to ‘Microcinema,’” 32:3, 4-7

Amelio, Gianni: Contribution to “The Prospects for Political Cinema Today:” A Critical Symposium,” 37.1, 6-17

—————: “The Birth and Death of a Nation,” 28:1, 19-20

Andersen, Thom: “The Political Documentary in America Today,” 30:3, 32-33

Andrew, Dudley: “Bazin Before Cahiers: Cinematic Politics in Postwar France,” 12:1, 12-16

Andrew, Geoff: “British Cinema Questionnaire,” 26:4, 64-65

Anonymous, An American Student: “Film Study Abroad: The London School of Film Technique,” 3:1, 4-7 & 31

Ansen, David: “Film Criticism in America Today: A Critical Symposium,” 26:1, 27-28

Antin, Eduardo (Quintin): “International Film Criticism Today: A Critical Symposium,” 31:1, 30

Arnove, Anthony: “Cautionary Tales: Documentaries on the U.N. Sanctions and War with Iraq,” 28:2, 21-23

Arthur, Paul: “Adam Curtis's Nightmare Factory: A British Documentarian Declares War on the 'War on Terror',” 33:1, 14-17

—————: “Escape from Freedom: The Films of Dusan Makavejev,” 27:1, 11-15

—————: “Extreme Makeover: The Changing Face of Documentary,” 30:3, 18-23

—————: “How the West Was Spun: McCabe and Mrs. Miller and Genre Revisionism,” 28:3,18-20

—————: “Let Us Now Praise Famous Yokels: Dadetown and Other Retreats,” 23:1, 30-33

—————: “Reviving Orson: or Rosebud, Dead or Alive,” 25:3, 10-13

—————: “True Confessions, Sort Of: Capturing the Friedmans and the Dilemma of Theatrical Documentary,” 28:4, 4-7

—————: “Unseen No More?: The Avant-Garde on DVD,” 32:1, 6-13

Arthur, Paul & Janet Cutler: “On the Rebound: Hoop Dreams and Its Discontents,” 21:3, 22-24

Asfour, Nana: “Palestinian Perspectives: New Documentaries on the Israeli/Palestinian Conflict,” 28:1, 24-27

—————: “Reclaiming Palestine, One Film at a Time,” 34:3, 18-24

—————: “The Politics of Arab Cinema: Middle Eastern Filmmakers Face Up to Their Reality,” 26:1, 46-48

—————: “The Second Beirut International Film Festival,” 24:2-3, 77 & 69

Assayas, Olivier : Contribution to “The Prospects for Political Cinema Today:” A Critical Symposium,” 37.1, 6-17

Aufderheide, Pat: Contribution to ‘‘Marxist Film Criticism: A Symposium,” 9:4, 21

—————: “Oliver Stone as Pulp Artist,” a contribution to “Platoon on Inspection: A Critical Symposium,” 15:4, 4-11

—————: “The Final Word: Political Film,” 16:1-2, 92

—————: “The Final Word: The Independent Production Service,” 17:1, 48

—————: “Oliver Stone as Pulp Artist,” a contribution to “Platoon on Inspection: A Critical Symposium,” 15:4, 4-11

—————: “The Changing Documentary Marketplace,” 30:3, 24-28

—————: “Werner Herzog’s Heart of Glass: Con,” 8:4, 33-34

Auster, Al & Leonard Quart: “American Cinema of the Sixties,” 13:2, 4-12

—————: “The Working Class Goes to Hollywood,” 9:1, 4-7

Auster, Al: “Contribution to Marxist Film Criticism: A Symposium,” 9:4, 21-22

—————: “Hollywood and Vietnam: The Triumph of the Will,” 9:3, 4-9

—————: “Gotta Sing! Gotta Dance! New Theory and Criticism of the Musical,” 12:4, 30-35

—————: “Mary Pickford (1983-1979): The Star the Working Class Found,” 9:4 42-43

—————: “Sherlock Holmes, Where Are You When We Really Need You?,” 7:3, 32-33

Ayers, Richard: “Pauline Kael, The Film Critic with a Chip on Her Shoulder,” 1:2, 6-9 & 27

Backstein, Karen: “A Second Look: The Red Shoes,” 20:4, 42-43

—————: “The Cinematic Jazz of Julie Dash,” 19:4, 88

—————: “(Un)safe Sex: Romancing the Vampire,” 35.1, 38-41

Bader, Eleanor: “Coping and Caring: Films on the AIDS Crisis,” 17:1, 18-19

Balde, Gibril: “Blood of the Condor,” 4:3,11

Baraka, Amiri: “New Jack City,” 18:3, 17

Barker, Cliff: “Is 2001 Worth Seeing Twice?,” 2:1, 15-16

Baron, Cynthia: “Performances in Adaptation: Analyzing Human Movement in    Motion Pictures, 31.2, 48-55

Barton, Ruth: “Feisty Colleens and Faithful Sons: Gender in Irish Cinema,” 24:2-3, 40-45

Basoli, A.G., “Redefining Human Rights: “The Human Rights Watch Film Festival,” 27:4, 34-35

Bates, Peter: “Lost and Found: Henry: Portrait of a Serial Killer,” 17:4, 55-57

Batlouni, Barbara Shahin: “Bibliography and Filmography on the Arab Image in Media,” 17:1, supp. 21-23

Baxandall, Lee: Contribution to Critical Symposium on “The Left and Porno,” 7:4, 30

—————: Contribution to “Marxist Film Criticism: A Symposium,” 9:4, 18-19

Beauchamp, Cari: Contribution to “The Art and Craft of Film Biography: A Critical Symposium,” 38.3, 16-25

Beck, Calvin T.: “Knocking the Establishment’s View of Violence, or Cubing the Squares,” 2:3, 10 & 27

Becker, Michael: “2004?,” 2:1, 17

Belston, Schawn: Contribution to “Film Preservation: A Critical Symposium,” 36.4, 41

Belton, John: “Can Hitchcock Be Saved from Hitchcock Studies?” 28:4, 16-21

—————: “Dexterity in a Void: The Formalist Esthetics of Alfred Hitchcock,” 10:3, 9-13

—————: “The Bionic Eye: Zoom Esthetics,” 11:1, 20-27

Benson, Edward: “Film Censorship and the New Right,” 11:4, 16

Bernstein, Walter: “A Eulogy for Arthur Penn,” 36.2, 39

Bhatty, Robin, “Islamic Fundamentalism at War Against America: New Documentaries on Religion and Politics in the Islamic World,” 27:2, 20-23, 61

Bickerton, Emilie:  “Reinventing Realism: The Art and Politics of the Dardenne Brothers,” 31:2, 14-18

Bickley, Daniel: “Bernardo Bertolucci’s 1900: A Preview,” 7:4, 1

—————: “The Cinema of Moral Dissent: A Report from the Gdansk Film Festival,” 11:1, 10-15

—————: “Humanism and Socialism: The Contemporary Hungarian Cinema,” 9:2, 30-35

Bignardi, Irene: “The Making of The Battle of Algiers,” 25:2, 14-22

Bishop, Rod, Heinz Schutte, & D.B. Jones: “Mataungan: A Film on ‘Development’ and the Tolai People in Niugini,” 5:3, 53-57

Biskind, Peter: Contribution to “Marxist Film Criticism: A Symposium,” 9:4, 22-23

————: “Ripping Off Zapata: Revolution Hollywood Style,” 7:2, 10-15

Blum, Edward J.: Contribution to “What Historians Think About Spielberg’s Lincoln,     38.2, 13-19     

Blumenfeld, Gina: “The (Next To) Last Word on Lina Wertmüller,” 7:2, 2-5 & 50

Bodde, Margaret: Contribution to “Film Preservation: A Critical Symposium,” 36.4, 41-42

Bogart, Will: “The Film Chamber at New Cinema Workshop,” 2:3, 16

Bolt, Robert: “Apologia,” (on his screenplay for Lawrence of Arabia), 21:4, 33-34

Bondanella, Peter: “Amarcord, Fellini & Politics,” 19:1, 36-43 & 32

————: “Three Neorealist Classics by Vittorio De Sica,” 23:1, 52-53

Bordwell, David: Contribution to “From 35mm to DCP: A Critical Symposium,” 37.4, 32-47

Boyd, Herbert: “Malcolm After Mecca: Pan-Africanism and the OAAU,” 19:4, 11-112

————: “Warren Beatty’s Bulworth: What’s the True Value of Bulworth?,” 24:1, 11

Boyd, Todd: “Popular Culture and Political Empowerment: The Americanization and Death of Malcolm X,” 19:4, 12-13

Boyle, Deirdre: “Finding the Missing Picture: The Films of Rithy Panh,” 39.3, 28–32

————: “Homevideo: Paper Tiger Television,” 14:2, 46-47

Bradeanu, Adina: “Romanian Documentaries and the Communist Legacy,” 32:3, 45-46

Brady, Robert: “Directing Actors for Film,” 2:1, 21

Brando, Marlon: “Oscar Speech,” 5:4, 64

Brasell, R. Bruce: “Bullets, Ballots and Bibles: Documenting the History of the Gay and Lesbian Struggle in America (Coming Out Under FireBallot Measure 9, and One Nation Under God),” 21:4, 17-21

Braverman, Robert: “The Chicken or the Egg,” 2:1, 19-20

Breitbart, Eric: “Point of Production: Films About Work and Workers,” 7:2, 26-29

Bren, Frank: “Hong Kong’s Fifty Years of Electric Shadows,” 23:1, 41

Briggs, Joe Bob: “Big Bosoms and Square Jaws: Russ Meyer, King of the Sex Film,” 31:1, 20-26

————: Contribution to “Cult Cinema: A Critical Symposium,” 34:1, 43-44

————: “Who Dat Man? Shaft and the Blaxploitation Genre,” 28:2, 24-29

Brill, Ernie & Lenny Rubenstein: “The Best Are Dead or Numb: A Second Look at Andrzej Wajda’s Ashes and Diamonds,” 11:3, 22-26

Brode, Douglas: “Reflections on the Tradition of the Movie Western,” 2:2, 2-6

Bronski, Michael: “From Brokeback Mountain: The Changing Nature of Queer Film Criticism,” 33:2, 22-26

—————: “Gods and Monsters: The Search for the Right Whale,” 24:4, 10-14

—————: “Positive Images & the Coming Out Film: The Art and Politics of Gay and Lesbian Cinema,” 26:1, 20-26

—————: “What’s So Queer About James Franco?,” 40.1, 10–14

Brothers, Peter H.: “Japan’s Nuclear Nightmare: How the Bomb Became a Beast Called Godzilla,” 36.3, 36-40

Brown, Royal S.: “Back from Among the Dead: The Restoration of Alfred Hitchcock’s Vertigo,” 23:1, 4-9

—————: “Celine and Julie Go Boating,” 23:3, 30-31

—————: “Film Music: The Good, The Bad, and The Ugly,” 21:1-2, 62-61

Brown, Royal & Christopher Sharrett: “No Country for Old Men: Pro & Con Reviews of Hollywood's 'Best Picture of the Year',” 33:3, 8-13

Brownlow, Kevin: —————: “Cinematic Theology,” 10:4, 20-21

—————: Contribution to “The Art and Craft of Film Biography: A Critical Symposium,” 38.3, 16-25

—————: “The Making of David Lean’s Film of The Bridge on the River Kwai,” 22:2, 10-16

Brunsdon, Charlotte: “London Films: From Private Gardens to Utopian Moments,” 26:4, 43-46

Buckner, Noel, Mary Dore, David Paskin & Sam Sills: “History is Made at Night: The Case for The Good Fight,” 17:3, 18-21

Burlingame, Michael: Contribution to “What Historians Think About Spielberg’s Lincoln, 38.2, 13-19

Burton, Julianne: “Memories of Underdevelopment in the Land of Overdevelopment,” 8:1, 16-21 & 58

Bush, Harold K.: Contribution to “What Historians Think About Spielberg’s Lincoln, 38.1, 13-19

Butcher, Pedro: “International Film Criticism Today: A Critical Symposium,” 31:1, 32

Byg, Barton: “What Might Have Been: DEFA Films of the Past and the Future of German Cinema,” 17:4, 9-15

Byrne, Gabriel: “Irish Cinema at the Crossroads: A Filmmakers’ Symposium,” 24:2-3, 70

Cadalso, Isabel: “Pedro Almodovar: A Spanish Perspective,” 18:1, 36-37

Cairns, David, Daniel Riccuito, and Tom Sutpen: “Heroes for Sale: How Warner Bros. Sold the Revolution... and Then Took It Back,” 39.1, 35–37

Calhoun, John: “Childhood’s End: Let the Right One In and Other Deaths of Innocence,” 35.1, 27-31

Callan, Michael Feeney: Contribution to “The Art and Craft of Film Biography: A Critical Symposium,” 38.3, 16-25

Callenbach, Ernest: Contribution to Critical Symposium on “The Left and Porno,” 7:4, 30-31

Canham, Cleve: “A Day in the Life of Gaily, Gaily,” 2:3, 13-15

Caputi, Jane & Helene Vann: “Questions of Race and Place: Comparative Racism in Imitation of Life (1934) and Places in the Heart (1984),” 15:4, 16-21

Carlson, Jerry: “Homevideo: The Czechoslovak New Wave,” 17:3, 60

Carnes, Mark C.: “Shooting (Down) the Past: Historians vs. Hollywood,” 29:2, 45-49

Carney, John: “Irish Cinema at the Crossroads: A Filmmakers’ Symposium,” 24:2-3, 70

Carr, Jay: “Film Criticism in America Today: A Critical Symposium,” 26:1, 28

Carreno, Richard D.: “French Film Magazines: Biased But Fun,” 2:2, 13-14 & 19

—————: “Made in U.S.A.: The Cliché of French Anti-Americanism,” 1:3, 3-4

Carruthers, Susan L: “Bodies of Evidence: New Documentaries on Iraq War Veterans,” 34:1, 26-31

__________: “Say Cheese!: Operation Iraqi Freedom on Film,” 32:1, 30-36

__________: “Question Time: The Iraq War Revisited,” 32:4, 12-17

Carson, Diane: “Acting in the Cinema,” 31:4, 60

Casal, Lourdes (with Marvin Surkin): “Recent Cuban Cinema,” 6:4, 22

Cashill, Robert: “All Things Kong-sidered,” 31:2, 39-43

—————: “Life Gone Mod,” 37.1, 24-27

—————: “Me and Mr. Mom: A Second Look at a Stay-at-Home Stereotype,”             38.3, 32-33

—————: “The Montreal World Film Festival,” 32:1, 84-85

Cattini, Alberto & Daniele Protti: “Political Engagement in the Italian Cinema,” 3:4, 28-29

Ceplair, Larry: “A B-Movie for Middle Class Liberals,” a contribution to “Platoon on Inspection: A Critical Symposium,” 15:4, 4-11

—————: “Kirk Douglas, Spartacus, and the Blacklist,” 38.1, 11-13

—————: “Righting a Wrong: Paul Jarrico and the Correction of Blacklist-Era Screen Credits,” 32:4, 30-33

—————: “Shedding Light on Darkness at High Noon,” 27:4, 20-22

—————: “The Many 50th Anniversaries of Salt of the Earth,” 29:2, 8-9

—————: “The Politics of Compromise in Hollywood: A Case Study,” (on Blockade) 8:4, 2-7

—————: “The Squishiness of Current Blacklist Documentaries,” 16:4, 26-27

—————: “Who Wrote What?: A Tale of a Blacklisted Screenwriter and His Front,” 18:2, 18-21

Ceplair, Larry and Steven Englund: “The Communist Party in Hollywood,” 10:1, 2-13

Ceplair, Larry and Christopher Trumbo: “Battling the Motion Picture Blacklist: Dalton Trumbo’s Plan to Exploit the Black Market in Scripts,” 39.4, 46–50

Chamish, Barry: “The Black Banana: Sex, Religion, and Satire in the Israeli Cinema,” 11:4, 26-29

Chamley, Santorri: “New Hollywood Cinema: From Home-Video Productions Back to the Big Screen,” 37.3, 21-23

Champ Libre Editorial Board: “Critical Notes on the Articles : ‘The Cinema as it Relates to the Forces of Our Society’ and ‘Political Situation of Quebec Cinema’,” 5:3, 20

Chen Kaige: “Breaking the Circle: The Cinema and Cultural Change in China,” 17:3, 28-31

Chen, Pauline: “Screening History: New Documentaries on the Tiananmen Events in China,” 22:1, 18-22

Cheshire, Godfrey: “Film Criticism in America Today: A Critical Symposium,” 26:1, 28-29

—————: “How to Read Kiarostami,” 25:4, 8-15

Cheuk-to, Li: “International Film Criticism Today: A Critical Symposium,” 31:1, 36-37

Chew, Richard: “The Art and Craft of Film Editing: A Critical Symposium,” 34:2, 54-64

Chibnall, Stephen: “Britain’s Funk Soul Brothers: Gender, Family and Nation in the New Brit-Pics,” 26:4, 38-42

Chikhaoui, Tahar: “International Film Criticism Today: A Critical Symposium,” 31:1, 42-43

Childs, Richard B.: “A Place for the Young Filmmaker,” 2:4, 6 & 31

Chisolm, Richard: “The Free-Lance Conscience,” 16:3, 26

Chow, Lesley: “The Actor’s Voice,” 31:4, 33-35

Ciment, Michel: Contributor to “International Film Criticism Today: A Critical Symposium,” 31:1, 33-34

Cineaste Editors: “The Cineaste Editors’ Choices for Favorite, Worst, and Funniest Historical Films,” 29:2, 69

—————: “Cineaste Editors Select the Ten Best Political Films, 1967—2007,” 32:4, 33

Cinema Engagé: “Engaged Cinema in the United States,” 1:3, 16-17 & 29

Cinemaya Staff: “Leftist Chinese Cinema of the Thirties,” 17:3, 36-37

Clark, Mike: “Film Criticism in America Today: A Critical Symposium,” 26:1, 29-30

Coates, Anne V.: “The Art and Craft of Film Editing: A Critical Symposium,” 34:2, 54-64

Cohan, Carley & Gary Crowdus: “Reflections on Roger & Me, Michael Moore and His Critics,” 17:4, 25-27

Cole, Lester: Contribution to “Marxist Film Criticism: A Symposium,” 9:4, 23-24

Comey, Jeremiah: “Acting in the Cinema,” 31:4, 61

Conrad, Randall: “A Magnificent and Dangerous Weapon: The Politics of Luis Buñuel’s Later Films,” 7:4, 10-18 & 51

—————: “No Blacks or Whites: The Making of Luis Buñuel’s The Young One,” 20:3, 28-34

—————: “The Minister of the Interior is on the Telephone: The Early Films of Luis Buñuel,” 7:3, 2-14

Contis, Angelike: “International Film Criticism Today: A Critical Symposium,” 31:1, 35-36

Cooper, Duncan: “Dalton Trumbo vs. Stanley Kubrick: Their Debate Over Arthur Koestler’s The Gladiators,” 18:3, 34-37

—————: “Spartacus: A Second Look,” 6:3, 30-31

—————: “Who Killed Spartacus?,” 18:3, 18-27

Cooper, Karen: “The Political Documentary in America Today,” 30:3, 34

Cooper, Margaret: “The Abortion Film Wars: Combat in the Media Zone,” 15:2, 8-12

Coover, Roderick: “ ‘Touchy Subjects’ Amir Muhammad’s Films on Race and Power in Malaysia,” 32:3, 8-10

Cornelius, James M.: Contribution to “What Historians Think About Spielberg’s Lincoln, 38.2, 13-19

Cornell, Katherine F.: “After the Wall: Eastern European Cinema Since 1989,” 19:4, 43-46

—————: “The Cinema of Ambivalence: Recent Films from Central and Eastern Europe,” 21:3, 28-30

Costa-Gavras: Contribution to “The Prospects for Political Cinema Today:” A Critical Symposium,” 37.1, 6-17

Crawford, Pamela: “Andy Warhol’s Chelsea Girls,” 1:3, 20-21

Crisp, Grover: Contribution to “Film Preservation: A Critical Symposium,” 36.4, 43-44

—————: Contribution to “From 35mm to DCP: A Critical Symposium,” 37.4, 32-47

Crofts, Stephen & Olivia Rose: Contribution to “Sign and Countersign: Raymond Durgnat Responds to His Critics,” 10:4, 16-17

Cronin, Paul: “On Film-Making: An Introduction to the Craft of the Director,” 30:3, 46-47

Cross, Alice: “Thelma & Louise: The Bimbo and the Mystery Woman,” 18:4, 32-34

Crowdus, Gary: “A Tentative for the Viewing of 2001,” 2:1, 12-14

—————: “Francesco Rosi: Italy’s Postmodern Neorealist,” 20:4, 19-25

—————: “Getting Exercised Over Fight Club,” 25:4, 46-48

—————: “Homevideo,” 13:1, 52-53

—————: “Homevideo: Laser Videodiscs,” 18:3, 54-57

—————: “Homevideo: Stanley Kubrick’s Spartacus and Dr. Strangelove,” 19:4, 97-98

—————: “How to Become a ‘Region-Free’ DVD Viewer,” 35.3, 36

—————: “Joe Bob Goes to the Drive-In,” 16:4, 32-37

—————: “Lawrence of Arabia: The Cinematic (Re)Writing of History,” 17:2, 14-21

—————: “Lawrence of Arabia, Now in Blu-ray, Rides Again: Or, A Film Buff’s         Confession of Divided Loyalties,” 38.2, 42-47

—————: “Looking Back at Our Beginnings: A Personal History of Cineaste,” 32:4, 38-42.

—————: “Starstruck in Montreal,” 30:1, 74-75

—————: “Sundays and Cybèle,” 1:1, 18-25 & 28

—————: “The Festival of New Latin American Cinema,” 14:3, 36-37

—————: “The Films of David Lean on Laserdisc,” 22:2, 48-51

—————: “The Fourth National Student Film Festival,” 2:4, 16-18

—————: “The Montreal ‘New Cinema Conference’,” 6:3, 26-28

—————:  “The Montreal World Film Festival,” 26:1, 49

—————: “The Montreal World Film Festival,” 29:1, 91

—————: “The Montreal World Film Festival Wages Cultural Warfare,” 23:2, 59-61

—————: “The Screenwriting of Irish History: Neil Jordan’s Michael Collins,” 22:4, 14-19

—————: “The Writers Guild of America vs. The Blacklist,” 21:4, 29

—————: “Toronto lnternational Film Festival,” 15:2, 28-29

—————: “Words, Words, Words: Recent Shakespearean Films,” 23:4, 13-19

Crowdus, Gary & Carley Cohan: “Reflections on Roger & Me, Michael Moore and His Critics,” 17:4, 27-30

Crowl, Samuel: “Zeffirelli’s Hamlet: The Golden Girl and a Fistful of Dust,” 24:1, 56-61

Cunningham, John: “A Second Look: Proud Valley,” 22:2, 40-41

Custen, George: “Night and Day: Cole Porter, Warner Bros., and the Re-Creation of a Life,” 19:2-3, 42-44

Cutler, Aaron: “Love in Time: Julie Delpy, Ethan Hawke, and Richard Linklater’s Before Films,” 38.4, 24-28

Cutler, Janet & Paul Arthur: “On the Rebound: Hoop Dreams and Its Discontents,” 21:3, 22-24

Dancyger, Kenneth. “Editing for Subtext: Altering the Meaning of the Narrative,” a contribution to “The Art and Craft of Film Editing” supplement, 34:2, 38-42

Dargis, Manohla: “Film Criticism in America Today: A Critical Symposium,” 26:1, 30

Davis, Ben: “The Bleecker Street Cinema: From Repertory Theater to Independent Film Showcase,” 38.1, 14-19

Davis, Zeinabu Irene: “ ‘Beautiful–Ugly’ Blackface: An Esthetic Appreciation of Bamboozled,” a contribution to “Race, Media and Money: A Critical Symposium on Spike Lee’s Bamboozled,” 26:2, 10-11

—————: “What Is the Right Thing?: A Critical Symposium on Spike Lee’s Do the Right Thing,” 17:4, 33-39

de Baecque, Antoine: “André Bazin in Combat,” 36.1, 10-15

de Laurot, Yves: “Composing as the Praxis of Revolution: The Third World and the U.S.A.: The Concrete Stages of Realization: Part 2,” 4:3, 15-24 & 34

—————: “Production as the Praxis of Revolutionary Film: The Concrete Stages of Realization: Part 1,” 4:2, 2-17 & 46

—————: “The Public as Vanguard of the People: A Woman’s Liberation and the Avatars of Madame Prometheus,” 4:4, 10-17

Decherney, Peter: “Race in Space,” 26:3, 38-39

Deegan, Thomas: “No-Fault Divorce Films: Hollywood’s Changing Morality,” 15:2, 24-27

Delage, Christian: “Bringing History into the Present Through Film: An Historian in the Archives of Nuremberg,” 37.1, 34-39

Denby, David: “Film Criticism in America Today: A Critical Symposium,” 26:1, 31-32

Dewdney, A. Keewatin: “The Dream Machine,” 2:4, 7-8

Diaz, Philippe: “The Political Documentary in America Today,” 30:3, 33

di Franco, Phil: “An Essay on Belief,” 2:1, 7-9

—————: “In Criticism of Criticism,” 1:1, 14-16 & 28

di Giorgi, Sergio & Deborah Young: “The Dream of a New Sicilian Cinema,” 23:1, 20-23

Dickstein, Morris: “Film Criticism in America Today: A Critical Symposium,” 26:1, 32

Dmohowski, Joseph: ‘Under the Table’: Michael Wilson and the Screenplay for The Bridge on the River Kwai,” 34:2, 16-21

Doherty, Thomas: “A Second Look: The Manchurian Candidate,” 16:4, 30-31

—————: “Aileen Wuornos: Superstar,” 29:3, 3-5

—————: “Bringing the Slave Narrative to Screen: Steve McQueen and John Ridley’s Searing Depiction of America’s ‘Peculiar Institution’,” 39.1, 4–8

—————: “Chinatown: Reappraisal of a Hollywood Classic,” 37.3, 18-19

—————: “Clueless Kids,” 21:4, 14-16

—————: “Sex, Half-Truths and Videotape: Auto Focus and Confessions of a Dangerous Mind,” 28:2, 10-13

—————: “The Sincerest Form of Flattery: A Brief History of Mockumentary,” 28:4, 22-24

—————: “The Age of Exploration: The Hollywood Travelogue Film,” 20:2, 38-40

—————: “The New War Movies as Moral Rearmament: Black Hawk Down & We Were Soldiers,” 27:3, 4-8

—————: “The Sound of Silents,” 25:2, 60-62

—————: “To Catch a Filmmaker: The Girl, Hitchcock, and Hitchcock,” 38.2, 4-7

—————: “Two Takes on Boyz N The Hood,” 18:4, 35-36

Dönmez-Colin, Gönül: “Asian Perspectives at Pusan,” 24:1, 87-88

Doolittle, M.R.: “Color Temperature,” 1:1, 7-9

Doros, Dennis & Amy Heller: Contribution to “Film Preservation: A Critical Symposium,” 36.4, 45

Douchet, Jean: “The French New Wave: Its Influence and Decline,” 24:1, 16-18

Dowell, Pat: “Black Rain: Hollywood Goes Japan Bashing,” 17:3, 8-10

—————: “Last Year at Nuremberg: The Cinematic Strategies of JFK,” 19:1, 8-11

—————: “Thelma & Louise: The Impotence of Women,” 18:4, 28-30

—————: “The Mythology of the Western: Hollywood Perspectives on Race and Gender in the Nineties,” 21:1-2, 6-10

—————: “Warren Beatty’s Bulworth: Will the Real Bulworth Please Stand Up?,” 24:1, 6-8

—————: “Woody’s Effort to Reconstruct Himself, (Woody Allen Critical Symposium),” 23:3, 35-36fu

Dowell, Pat & John Fried: “Pulp Friction: Two Shots at Quentin Tarantino’s Pulp Fiction,” 21:3, 4-7

Doyle, Roddy: “Irish Cinema at the Crossroads: A Filmmakers’ Symposium,” 24:2-3, 70-71

Duignan, Clare: “Irish Cinema at the Crossroads: A Filmmakers’ Symposium,” 24:2-3, 71

Durgnat, Raymond: “British Cinema Questionnaire,” 26:4, 65

—————: “Defetishizing Buñuel,” 23:4, 4-7

—————: “Sign and Countersign: Raymond Durgnat Responds to His Critics,” 10:4, 17-19

—————: “The Death of Cinesemiology,” 10:2, 10-13

—————: “The Powell and Pressburger Mystery,” 23:2, 16-19

Edelman, Rob: ‘‘A Second Look: Go Tell the Spartans,” 13:1, 18-19 & 54

—————: “Home Video: Colorization,” 15:2, 56-57

—————: “Home Video: Public Domain Tapes,” 16:3, 56-57

Edelstein, David: “Film Criticism in America Today: A Critical Symposium,” 26:1, 33-34

Eliot, Marc: Contribution to “The Art and Craft of Film Biography: A Critical Symposium,” 38.3, 16-25

Elsen, Ken: “The Young Misogynists of American Cinema,” 13:1, 30-35

Emerman, Marsha: “Film, Video and Self-Representation in Northern Ireland,” 17:2, 40-41

Erickson, Steve: “Voyeurs in the Hermit Kingdom: The Interview and Other Films on North Korea,” 40.2, 37–41

Erkkila, Betsy: Contribution to “What Historians Think About Spielberg’s Lincoln, 38.2, 13-19

Esnault, Philippe: “Cinema and Politics,” 3:3, 4-11

Evica, George Michael: “Deconstructing the DA: The Garrison Image in JFK,” 19:1, 17-19

Ewing, John:  “Contribution to Repertory Film Programming: A Critical Symposium,” 35.2, 38-53

Falk, Irving A. & Dr. George M. Gordon: “You Oughta Be In Pictures,” 2:3, 3-9 & 27

Fedorov, Alexandre: “America, America: A Letter from Russia,” 22:4, 62

Feinstein, Howard: “Arab Films at Pesaro Festival,” 20:2, 42-43

Feng, Peter: “In Search of Asian American Cinema,” 21:1-2, 32-35

—————: “Redefining Asian American Masculinity: Steven Okazaki’s American Sons,” 22:3, 27-29

—————: “The State of Asian American Cinema: In Search of Community,” 24:4, 20-24

Fernandez, Enrique: “Parting of the Ways: A Cuban American View,” 15:4, 23 & 39

Ferroni Brigade, The: Contribution to “From 35mm to DCP: A Critical Symposium,” 37.4, 32-47

Fielding, Raymond: “Film Study and History Research at the University of Iowa,” 1:3, 14-15 & 29

“Film Criticism in the Age of the Internet: A Critical Symposium,” 33:4, 30-46

Filimon, Monica: “Beyond New Romanian Cinema: Old Traps and New Beginnings,” 39.2, 30–34

Flanigan, B.P.: “Kung Fu Krazy,” 6:3, 8-11erick

Frayling, Christopher: “The Making of Sergio Leone’s A Fistful of Dollars,” 25:3, 14-22

Fregoso, Rosa Linda: “Hanging Out with the Homegirls?: Allison Anders’s Mi Vida Loca,” 21:3, 36-37

Fried, John & Pat Dowell: “Pulp Friction: Two Shots at Quentin Tarantino’s Pulp Fiction,” 21:3, 4-7

Frodon, Jean-Michel: “International Film Criticism Today: A Critical Symposium,” 31:1, 34

Foundas, Scott: Contribution to “From 35mm to DCP: A Critical Symposium,” 37.4, 32-47

Frye, Brian L: “Three Great Filmmakers: Haldeman, Ehrlichman & Chapin…or, Nixon’s Home Movies,”31:3, 36-37

Fuentes, Maria José Gámez: “Women in Spanish Cinema: ‘Raiders of the Missing Mother’?” 29:1, 38-43

Fujiwara, Chris: “The Testaments of Fritz Lang,” 30:2, 38-42

Fuller, Graham: “A Second Look: One from the Heart,” 17:4, 58-59

—————: “Film Criticism in America Today: A Critical Symposium,” 26:1, 34

—————: “It Was Fifty Years Ago Today: Beatlemania Lives On in an Intimate Memoir and a Countercultural Study,” 39.2, 4–7

—————: “Searching for the Stamp of Truth:  Claude Lanzmann Reflects on the Making of Shoah,” 36.2, 16-19

————: “The Cut and Thrust: The Power of  Political Debate in the Films of Ken Loach,” 40.4, 30–35

————: “Wessex and the Single Girl: Female Independence in John Schlesinger’s and Thomas Vinterberg’s Screen Adaptations of Thomas Hardy’s Far from the Madding Crowd,” 40.3, 12–16

Geada, Eduardo: “The Politics of Porno in Portugal,” 8:2, 31 & 59

Gagné, Nicole V.: “Where is The Other Side of the Wind? or Quien es Mas Macho: Orson Welles, John Huston or Ernest Hemingway?” 29:1, 4-7

Geller, Conrad: “Secularism Strikes Back: New Documentaries on Religion and Faith,” 34:1, 14-19

Georgakas, Dan: “Asian American Retrospective at the Locarno Film Festival,” 27:1, 49-50

—————: “A Second Look: The Revisionist Releases of North Star,” 22:1, 16:48

—————: “The Beloved Bs,” 23:4, 54-55

—————: “Black Athena: Aryans, Semites, Egyptians and Hellenes,” 19:2-3, 55-56

—————: “Contribution to Marxist Film Criticism: A Symposium,” 9:4. 24-25

—————:  “Detroit: An Urban Zombie: Motown Images in Three New Documentaries,” 37.4, 16-21

—————: “Don’t Call Him ‘Gadget’: Elia Kazan Reconsidered,” 16:4, 4-7

—————: “Finally Got the News: The Making of a Radical Film,” 5:4, 2-6

—————: “From Stella to Iphigenia: The Woman-Centered Films of Michael Cacoyannis,” 30:2, 24-30

—————: “Greek Film: Ever an Ethnic Crossroads,” 32:3, 28-31

—————: “Home Video: Cinema of the New Deal,” 21:4, 47-48

—————: “Ida Lupino: Doing It Her Way,” 25:3, 32-36

—————: “Kazan, Kazan,” 36.4, 4-9

—————: “Malpractice in the Radical American Documentary,” 18:1-2, 46-49

—————: “Oliver Stone’s Untold History of the United States: The Course of Empire,” 38.4, 15-19

—————: “The New York Film Festival,” 10:1, 39-40 & 47

—————: “The Pesaro Film Festival,” 4:2, 18-20

—————: “Porno Power,” 6:4, 13-15

—————: “Revolutionary Cinema: Italian Style,” 4:3, 33-34

—————: “Still Good After All These Years (on Viva Zapata),” 7:2, 16-17

—————: “Three Must-Sees from Thessaloniki,” 29:2, 71-72

—————: “Thessaloniki’s First Films of Merit,” 23:3, 54

—————: “The Thessaloniki Film Festival: Cultural Globalization,” 27:2, 46-47

 —————:“The Thessaloniki Film Festival,” 26:3, 62-63

—————: “The Thessaloniki Film Festival,” 30:2, 76-77

—————: “The Thessaloniki Film Festival,” 32:2, 90-91

—————: “The Thessaloniki International Film Festival,” 31:2, 85

—————: “The ‘Threat’ of the New Frontier: The Kennedy Image in JFK,” 19:1, 19-20

—————: “The Way They Really Were,” 23:2, 28-31

—————: “Underground—Con,” 7:4, 21, 23 & 51

—————: “Warren Beatty’s Bulworth: Reviving the Sixties,” 24:1, 9-11

—————: “Who Will Speak for El-Hajj Malik El-Shabazz?: Hagiography and a Missing Identity in Malcolm X,” 19:4, 15-16

Georgakas, Dan & Ann Snitow: “Talking About On the Line,” 8:1, 28-31

George, Terry: “Irish Cinema at the Crossroads: A Filmmakers’ Symposium,” 24:2-3, 71

Gasser, H. Mark, “2001: A Space Odyssey,” 2:1, 10-11

Getino, Octavio & Fernando Solanas: “Toward a Third Cinema,” 4:3, 1-10

Gianvito, John:  “Contribution to Repertory Film Programming: A Critical Symposium,” 35.2, 38-53

—————: Contribution to “The Prospects for Political Cinema Today:” A Critical Symposium,” 37.1, 6-17

Gilbert, Maggi & Réal La Rochelle: Political Situation of Quebec Cinema,” 5:3, 2-9

Giroux, Henry: “Race, Pedagogy and Whiteness in Dangerous Minds,” 22:4, 46-49

—————: “The Challenge of Neo-Fascist Culture (on Night Porter),” 6:4, 30-34

Gitai, Amos: Contribution to “The Prospects for Political Cinema Today:” A Critical Symposium,” 37.1, 6-17

Gitlin, Todd: “Essay on ‘The Left and Porno’,” 7:4, 28

Glaberman, Martin: “Blue Collar—Detroit Moviegoers Have Their Say,” 8:4, 28-29

Gleason, Michie: “Underground—Pro,” 7:4, 20, 22 & 53

Glushanok, Paul: “Bonnie and Clyde,” 1:2, 14-17

—————: “Mahanagar: Ray on Revolution,” 1:2, 20-25

—————: “On Ray,” 1:1, 3-6

Gogan, Johnny: “Irish Cinema at the Crossroads: A Filmmakers’ Symposium,” 24:2-3, 71-72

Goldstein, Bruce: Contribution to “From 35mm to DCP: A Critical Symposium,” 37.4, 32-47

—————: “Contribution to Repertory Film Programming: A Critical Symposium,” 35.2, 38-53

Goldwasser, Noë: “Film Diary for a Film Version of Shakespeare’s Macbeth,” 2:2, 9-12 & 27

—————: “Made in U.S.A.: The Paper Tiger in Your Tank,” 1:4, 16-18

Goodman, Jeff: “Blue Collar—Detroit Moviegoers Have Their Say,” 8:4, 31

Gorbman, Claudia: “The State of Film Music Criticism,” 21:1-2, 72-75

Gordon, Dr. George M. & Irving A. Falk: “You Oughta Be In Pictures,” 2:3, 3-9 & 27

Gorfinkel, Elena: “Cult Film, or Cinephilia by Any Other Name,” 34:1, 33-38

Grace, Pamela: “Sacred Savagery: The Passion of the Christ,” 29:3, 13-17

Gray, Michael: “Those Bad-Tempered, Redhaired Celts,” 24:2-3, 35

Greaves, William: “The Political Documentary in America Today,” 30.3, 34-35.

Green, Calvin: “Ars Theologica: Man and God at the NY Film Festival,” 3:2, 6-10 & 36

—————: “L’Homme Politique: Man and the Revolution at the NY Film Festival,” 3:2, 2-5 & 36

Greene, Dennis: “Tragically Hip: Hollywood and African-American Cinema,” 20:4, 28-29

Greenwald, Robert: Contribution to “The Prospects for Political Cinema Today:” A Critical Symposium,” 37.1, 6-17

Greven, David, “”Dude, Where’s My Gender?: Contemporary Teen Comedies and New Forms of Masculinity,” 27:3, 14-21

Grlic, Rajko: Contribution to “The Prospects for Political Cinema Today:” A Critical Symposium,” 37.1, 6-17

Grossman, Vidor: “Left-Wing Documentaries at the Leipzig Film Festival,” 8:4, 51-52

Grundmann, Roy: “Auteur de Force: Michael Haneke’s ‘Cinema of Glaciation,’” 32:2, 6-14

—————: “Festivals: Montreal’s Politique des Auteurs,” 22:3, 59-61

—————: “How Clean Was My Valley: Todd Haynes’s Safe,” 21:4, 22-25

—————: “Plight of the Crash Fest Mummies: David Cronenberg’s Crash,” 22:4, 24-27

—————: “Politics, Esthetics, Sex: Queer Films and Their Festivals,” 19:1, 50-52 & 62

—————: “The Fantasies We Live By: Bad Boys in Swoon & The Living End,” 19:4, 25-29

—————: “Thelma & Louise: Hollywood Sets the Terms of the Debate,” 18:4, 35-36

—————: “Too Darn Hot: Kinsey and the Culture Wars,” 30:2, 4-10

—————: “White Man’s Burden: Eminem’s Movie Debut in 8 Mile,” 28:2, 30-35

Grundmann, Roy & Cynthia Lucia: “Gays, Women and an Abstinent Hero: The Sexual Politics of JFK,” 19:1, 20-22

Guback, Thomas H.: “Film and Cultural Pluralism,” 5:1, 1-7

Guédeguian, Robert: Contribution to “The Prospects for Political Cinema Today:” A Critical Symposium,” 37.1, 6-17

Guelzo, Allen C.: Contribution to “What Historians Think About Spielberg’s Lincoln, 38.2, 13-19

Guerrero, Ed: “Framing Blackness: The African-American Image in the Cinema of the Nineties,” 20:2, 24-3

Guest, Haden: Contribution to “From 35mm to DCP: A Critical Symposium,” 37.4, 32-47

—————: “Contribution to Repertory Film Programming: A Critical Symposium,” 35.2, 38-53

Gunning, Tom: “Buster Keaton or The Work of Comedy in the Age of Mechanical Reproduction,” 21:3, 14-16

Gupta, Sehdev Kumar: “ ‘New Wave’ Cinema in India,” 6:3, 23-25

Gustafson, Judith: “The Whore with the Heart of Gold: A Second Look at Klute and McCabe and Mrs. Miller,” 11:2, 14-17 & 49

Guthmann, Edward: “The Cruising Controversy: William Friedkin vs. the Gay Community,” 10:3, 2-8

Haas, Scott: “The Marx Brothers, Jews, & My Four-Year-Old Daughter,” 19:2-3, 49

Hamid, Rahul: “A Filmmaker at the Barricades: The Cinematic and Political Evolution of Moshen Makhmalbaf,” 34:4, 6-9

————: “Panning Out for a Wider View: Iranian Cinema Beyond Its Borders,” 31:3, 48-50

————: “The Bangkok Film Festival,” 31:3, 51

————: “The Jeonju Film Festival,” 32:4, 74-75

Handzo, Stephen: “The Golden Age of Film Music,” 21:1-2, 46-55

Hays, Matthew: “Bon Cop, Bad Cop and Canada’s Two Solitudes,” 32:2, 20-24

Healy, Jim:  “Contribution to Repertory Film Programming: A Critical Symposium,” 35.2, 38-53

Hedden, Andrew: "The Outsider: Themes from the Work of Daniel Day-Lewis," 33:2, 8-13

Heifetz, Hank: “Mixed Music: In Memory of Satyajit Ray,” 19:4, 72-73

Heim, Alan: “The Art and Craft of Filmmaking: A Critical Symposium,” 34:2, 54-64

Heller, Amy & Dennis Doros: Contribution to “Film Preservation: A Critical Symposium,” 36.4, 45

Hennebelle, Guy: “Books to Change the French Cinema?,” 6:1, 41-45

—————: “Formation of the European Federation of Progressive Cinema,” 8:4, 50-51

—————: “The Adventures of Political Cinema,” 10:2, 20-24

—————: “The National Question in Palestinian Cinema,” 10:1, 32-34 & 38

—————: “Z Movies, or What Hath Costa–Gavras Wrought?,” 6:2, 28-31

Heredero, Carlos: “New Creators for the New Millennium: Transforming the Directing Scene in Spain,” 29:1, 32-37

Hershon, Robert: “Film Composers in the Sonic Wars,” 22:4, 10-13

—————: “Off the Beaten Track: Harmonious Director/Composer Teams,” 23:4, 38-41

—————: “They’re Playing Your Song: The Role of the Music Supervisor,” 26:3, 24-26 & 55

Hill, John: “Contemporary British Cinema: Industry, Policy, Identity,” 26:4, 30-33

—————: “Filming in the North,” 24:2-3, 26-27

Hilmes, Michele: Contribution to “Rethinking Television: A Critical Symposium on the New Age of Episodic Narrative Storytelling,” 39.4, 26–38

Hindle, Will: “About Chinese Firedrill,” 1:4, 19-20

Hinkle, Ned: Contribution to “From 35mm to DCP: A Critical Symposium,” 37.4, 32-47

Hoberman, J.: Contributions to “Cult Cinema: A Critical Symposium,” 34:1, 44-45

—————: Contribution to “From 35mm to DCP: A Critical Symposium,” 37.4, 32-47

—————: “Film Criticism in America Today: A Critical Symposium,” 26:1, 35

Hodson, Joel: “Who Wrote Lawrence of Arabia?: Sam Spiegel and David Lean’s Denial of Credit to a Blacklisted Screenwriter,” 20:4, 12-18

Hogan, Jackie: Contribution to “What Historians Think About Spielberg’s Lincoln, 38.2, 13-19

Holloway, Ron: “The Karlovy Vary Film Festival,” 24:1, 86-87

Hongyu, Li: “International Film Criticism Today: A Critical Symposium,” 31:1, 32-33

Hooks, Bell: “Male Heroes and Female Sex Objects: Sexism in Spike Lee’s Malcolm X,” 19:4, 13-15

Horak, Jan-Christopher: Contribution to “Film Preservation: A Critical Symposium,” 36.4, 46

Horton, Andrew:  “Festivals: The Belgrade International Film Festival,” 22:2, 56-57

—————: “From the Land of Jambalaya: Belizaire the Cajun,” 15:3, 34-36

—————: “Hot Car Films and Cool Individualism, or What We Have Here is a Lack of Respect for the Law,” 8:4, 12-15

—————: “I Don’t Want To Kill Anybody: The Moving Image in the Post-Yugoslav Republics,” 19:4, 54-57

—————: “Lost and Found: Intergirl,” 18:1, 64 & 61

—————: “Lost and Found: Nicos Perakis’s Living Dangerously,” 16:4, 64 & 56

—————: “Motovun and Sarajevo Festivals,” 30:1, 71-73

—————: “Satire and Sympathy: A New Wave of Yugoslavian Filmmakers,” 11:2, 18-22

—————: “The 9th Sarajevo Film Festival,” 29:1, 89-90

—————: “The ‘How to Write the Best Ever Screenplay’ Book Biz,” 19:2-3, 12-14

—————: “The Master of Slow Cinema: Space and Time—Actual, Historical, and Mythical—in the Films of Theo Angelopoulos,” 36.1, 23-27

Horton, Andrew James: “High Profile Yet Invisible: Balkan Cinema on the Festival Circuit,” 32:3, 47-50

Howard, Steve: “A Cinema of Transformation: The Films of Haile Gerima,” 14:1, 28-29 & 39

Huber, Christoph: “George Cukor: A Master (of the) In-Between,” 39.2, 14–20

—————: “International Film Criticism Today: A Critical Symposium,” 31.1, 31-32.

—————: Contribution to “Rethinking Television: A Critical Symposium on the New Age of Episodic Narrative Storytelling,” 39.4, 26–38

Hughes, John: Contribution to “The Prospects for Political Cinema Today:” A Critical Symposium,” 37.1, 6-17

Hutshing, Joe: “The Art and Craft of Film Editing: A Critical Symposium,” 34:2, 54-64

Insdorf, Annette: “The Art of Adaptation: Guy Gallo Discusses Under the Volcano,” 13:4,10-11

—————: “Highlights of the Cannes Film Festival,” 11:3, 27-29 & 41

—————: “Miami Film Festival,” 15:3, 21 & 57

Iordanova, Dina: “Instant, Abundant, and Ubiquitous: Cinema Moves Online,” 39.1, 46–50

—————: “Whose is This Memory?: Hushed Narratives and Discerning Remembrance in Balkan Cinema,” 32:3, 22–27

Jabara, Abdeen: “Is Peace Possible?: New Documentaries on the Israeli-Palestinian Conflict,” 23:3, 16-19

—————: “Time for a Change,” 17:1, supp. 2

Jackel, Anne: “The Grand Theater of the World: The Films of Lucian Pintilie,” 25:1, 27-29

Jackson, Donald G.: “Seventh Ann Arbor Film Festival,” 2:4, 10-15 & 29

Jackson, Lynn & Jean Rasenberger: “Young, British, and Black,” 16:4, 24-25

Jackson, Lynn with Karen Jaehne: “Eavesdropping on Female Voices: A Who’s Who of Contemporary Women Filmmakers,” 16:1-2, 38-43

Jackson, Russell: “Working with Shakespeare: Confessions of an Adviser,” 24:1, 42-44

Jaehne, Karen: “Cinema in Vietnam: When the Shooting Stopped and the Filming Began,” 17:2, 32-37

—————: “Homevideo: Media Home Entertainment,” 14:3, 58 & 52

—————: “Homevideo: Recent Italian Releases,” 17:4, 60-61

—————: “Melvin Van Peebles: The BAADASSSSS Gent,” 18:1, 4-8

—————: “Old Nazis in New Films: The German Cinema Today,” 9:1, 32-35

—————: “The Final Word: Entertainment Summit,” 15:4, 60 & 39

—————: “The Final Word: Mississippi Burning in Prague,” 17:2, 64 & 46

—————: “The Final Word: Ronald Reagan and Movie Politics,” 15:3, 60

—————: “The Press and Politics at Cannes ‘88,” 16:4, 8-12

Jaehne, Karen & Marsha McCreadie: “Great Belles of Fire: Southern Women on the Screen,” 17:4, 20-21 & 64

Jaramillo, Deborah: Contribution to “Rethinking Television: A Critical Symposium on the New Age of Episodic Narrative Storytelling,” 39.4, 26–38

Jellinek, Jorge: “International Film Criticism Today: A Critical Symposium,” 31:1, 44

Jhirad, Susan: “Hitchcock’s Women,” 13:4, 30-33

Jones, Jacquie: “Spike Lee Presents Malcolm X: The New Black Nationalism,” 19:4, 9-11

—————: “Two Takes on Boyz N The Hood,” 18:4, 35-36

—————: “What Is the Right Thing?: A Critical Symposium on Spike Lee’s Do the Right Thing,” 17:4, 33-39

Jones, Julie: “A Dialog with Self: Buñuel’s Dramatization of Identity in Four Characters Played by Fernando Rey,” 35.4, 32-37

—————: “'Above all… don't perform!': Playing to the Camera of Luis Buñuel,” 33:3, 22-26

Jones, Kent:  “Contribution to Repertory Film Programming: A Critical Symposium,” 35.2, 38-53

Joyce, Frank: “Blue Collar—Detroit Moviegoers Have Their Say,” 8:4, 29-30

Juhasz, Alexandra: “So Many Alternatives: The Alternative AIDS Video Movement” (Part 1), 20:4, 32-35

—————: “So Many Alternatives: The Alternative AIDS Video Movement” (Part 2), 21:1-2, 37-39

Julien, Isaac: “British Cinema Questionnaire,” 26:4, 65-66

Kalishman, Harold: “Persuading the Already Persuaded: A Critique of State of Siege,” 6:2, 36-39

Kamphausen, Hannes: “Cinema in Africa: A Survey,” 5:3, 28-41

Kantor, Bernard R.: “Film Study in Colleges: How to Help the Film Industry Despite Itself,” 1:2, 3-5

Kaplan, Fred: “Vietnam! Vietnam!—An Exclusive Report on John Ford’s Propaganda Documentary for the USIA,” 7:3, 20-23

Kaplan, Frederick: “A Second Look at Akira Kurosawa’s The Seven Samurai,” 10:1, 42-43 & 47

Kapsis, Robert K: “Alfred Hitchcock: Auteur or Hack?,” 14:3, 30-35

Karakhan, Lev: “International Film Criticism Today: A Critical Symposium,” 31:1, 40-41

Kardish, Laurence:  “Contribution to Repertory Film Programming: A Critical Symposium,” 35.2, 38-53

Karmitz, Marin: “Facts That Led Us To Produce Comrades and First Reactions of the Public,” 4:2, 25-27

Kasem, Casey: “An Arabic Who’s Who,” 17:1, supp. 17

Kauffmann, Stanley: “Film Criticism in America Today: A Critical Symposium,” 26:1, 35-36

Kawicki, Dennis: “Record Reviews: Ivan the TerribleEntr’Acte,” 2:2, 16-17

Kemp, Philip: “Paradise Postponed: Ealing, Rank and They Came to a City,” 23:4, 45-47

Kenigsberg, Ben: Contribution to “Film Criticism: The Next Generation,” 38.2, 35-40

Kennedy, Lisa: “What Is the Right Thing?: A Critical Symposium on Spike Lee’s Do the Right Thing,” 17:4, 33-39

Kerbel, Michael: “The Redemptive Power of Art (Woody Allen Critical Symposium),” 23:3, 36-37

Kezich, Tullio: “Federico Fellini and the Making of La Dolce Vita,” 31:1, 8-14

————: “International Film Criticism Today: A Critical Symposium,” 31:1, 37-38

Kilpatrick, Jacquelyn: “Disney’s ‘Politically Correct’ Pocahontas,” 21:4, 36-37

Klawans, Stuart: “Film Criticism in America Today: A Critical Symposium,” 26:1, 36

Kleinhans, Chuck & Julia Lesage: “The Fallacy of Prolepsis: A Critique of Yves de Laurot’s Cinema Engagé,” 5:4, 25-34

Klinger, Gabe: Contribution to “Film Criticism: The Next Generation,” 38.2, 35-40

Koehler, Robert: “A Second Look: Death of a Cyclist,” 34:3, 72-74

————: “Early Antonioni: The Resilience of Modernism,” 36.4, 32-36

————: “What the Hell Happened with Terrence Malick?,” 38.4, 4-9     

Kohn, Eric: “The Ethnographic Magician: Jean Rouch’s African Films,” 38.1, 24-27

Koresky, Michael: Contribution to “Film Criticism: The Next Generation,” 38.2, 35-40

Kornatowska, Maria: “Polish Cinema,” 19:4, 47-50

Kraicer, Shelley: “Tracking the Elusive Wong Kar-wai,” 30:4, 14-15

La Motte, Richard: “Designing Costumes for the Historical Film,” 29:2, 50-54

Lampert, Andrew and Jared Rapfogel: Contribution to “Film Preservation: A Critical Symposium,” 36.4, 40 

La Rochelle, Réal and Maggi, Gilbert: “Political Situation of Quebec Cinema,” 5:3, 2-9

Landau, Saul: “Spike Lee’s Revolutionary Broadside,” a contribution to “Race, Media and Money: A Critical Symposium on Spike Lee’s Bamboozled,” 26:2, 11-12

Landesman, Ohad: “In the Mix: Reality Meets Fiction in Contemporary Iranian Cinema,” 31:3, 45-47.

Lebow, Alisa: “Lesbians Make Movies,” 20:2, 18-23

Lee, Helen: “A Peculiar Sensation: A Personal Genealogy of Korean American Women’s Cinema,” 23:1, 36-38

Leider, Emily W.: Contribution to “The Art and Craft of Film Biography: A Critical Symposium,” 38.3, 16-25

Lenk, Marjorie: “Amateurs and Animation,” 1:2, 18

Lesage, Julia: “Essay on The Left and Porno,” 7:4, 31 & 53

—————:“Tout Va Bien and Coup Pour Coup: Radical French Cinema in Context,” 5:3, 42-48

Lesage, Julia and Chuck Kleinhans: “The Fallacy of Prolepsis: A Critique of Yves de Laurot’s Cinema Engagé,” 5:4, 25-34

Lessard, John: “A Second Look: Kuhle Wampe, or Who Owns the World?,” 34:4, 71-73

 ————: “Iron Curtain Auteurs: Lost Voices from East Germany’s DEFA Studios,” 34:3, 5-11

Lester, Julius: “Black Supremacy and Anti-Semitism: Religion in Malcolm X,” 19:4, 16-17

Levich, Jacob: “Homevideo: John Cassavetes: An American Maverick,” 20:2, 51- 53

Liebman, Peter: Contribution to “Sign and Countersign: Raymond Durgnat Responds to His Critics,” 10:4, 15-16

Liebman, Stuart: “Alain Resnais’s Night and Fog: Historians Reassess a Classic Documentary,” 38.1, 46-49

 “Haneke, Ink: The Auteur in the Academy,” 37.2, 24-29

—————: “Heimat: A Chronicle of Germany,” 22:3, 42-44

—————: “Homevideo: Weimar Cinema’s Greatest Hits,” 21:3, 50-52

—————: “Homevideo: Soviet Silent Film Classics,” 19:2-3, 74-78

—————: “Homevideo: Dusan Makavejev,” 19:1, 68-70

—————: “Homevideo: Miklös Jancsö,” 18:4, 58-59

—————: “If Only Life Were So Beautiful,” 24:2-3, 20-22

—————: “Once Upon a Time in the Soviet Union,” 24:1, 76-80

—————: “Qué Viva Eisenstein!: A Life for the Revolution,” 26:4, 6-12

—————: “The Art of Memory: Andrej Wajda’s War Trilogy,” 32:1, 42-47

—————: “The Films of Valie Export,” 17:4, 61

—————:: “The Never-Ending Story: Yael Hersonski’s  A Film Unfinished,” 36.3, 15-19

Liebman, Stuart & Leonard Quart: “Lost and Found: Wanda Jakubow-ska’s The Last Stop,” 22:4, 43-45

—————: “Czech Films of the Holocaust: Diamonds of the NightTransport from Paradise and Dita Saxova,” 22:1, 49-51

Liehm, Antonin J.: “Czech and Slovak Cinema,” 19:4, 62

Linehan, Hugh: “Myth, Mammon and Mediocrity: The Trouble with Recent Irish Cinema,” 24:2-3, 46-49

Linnett, Richard: “As American As You Are: Jim Jarmusch and Stranger Than Paradise,” 14:1 26-28

Livingston, James: “What Does a Mermaid Want?” 18:1, 17-20

LoBrutto, Vincent: “ ‘Invisible’ or ‘Visible’ Editing: The Development of Editorial Styles and Strategies,” a contribution to “The Art and Craft of Film Editing” supplement, 34:2, 43-47

Locke, John: “Adapting the Autobiography: The Transformation of Malcolm X,” 19:4, 5- 7

Lopate, Phillip: “Yasujiro Ozu: The Subtly Observant Eye,” 23:3, 26-29

Losier, Marie:  “Contribution to Repertory Film Programming: A Critical Symposium,” 35.2, 38-53

Love, Damien: Contribution to “Cult Cinema: A Critical Symposium,” 34:1, 45-46

Lucas, Tim: Contribution to “Cult Cinema: A Critical Symposium,” 34:1, 46

Lucia, Cynthia: Editorial Introduction to “Race, Media and Money: A Critical Symposium on Spike Lee’s Bamboozled,” 26:2, 10-11

—————: Festivals: “Montreal’s Feminist Edge,” 21:1-2, 96-97

—————: “Festivals: The Montreal World Film Festival,” 21:4, 60-61

—————: “Has the Jury Reached Its Verdict?: Deliberating the Case of Cinema and the Law,” 25:1, 14-18

—————: “The Istanbul International Film Festival,” 27:3, 49-51

—————: “The Personal Becomes Political at the Montreal Festival,” 25:1, 36-38

—————: “Women on Trial: The Female Lawyer in the Hollywood Courtroom,” 19:2-3, 32-37

Lucia, Cynthia & Roy Grundmann: “Gays, Women and an Abstinent Hero: The Sexual Politics of JFK,” 19:1, 20-22

Lugg, Andrew: “On Andy Warhol: Part 1,” 1:3, 9-13

—————: “On Andy Warhol: Part II,” 1:4, 12-15 & 33

Lugowski, David: “Genre Conventions and Visual Style in The Crying Game,” 20:1, 31 & 33 & 35

Lynn, Rick: “Did Rosemary’s Baby Really Tell It Like It Is?,” 2:2,15

Lynton, Linda: “The Politics of Personal Commitment: A Profile of Deborah Shaffer,” 15:4, 36-38

Maben, Adrian and Gerald Jacobson: “The Centro Sperimentale di Cinematografia,” 3:1, 8-10 & 33

MacBean, James Roy: “Between Kitsch and Fascism: Notes on Fassbinder, Pasolini, (Homo)sexual Politics, the Exotic, the Erotic and Other Consuming Passions,” 13:4, 12-19

—————: “The Cinema as Self-Portrait: The Final Films of R. W. Fassbinder,” 12:4, 8-16

Mackendrick, Alexander: “On Film-Making: An Introduction to the Craft of the Director,” 30:3, 48-54

Malkmus, Lizbeth: “The ‘New’ Egyptian Cinema: Adapting Genre Conventions to a Changing Society,” 16:3, 30-33

Marable, Manning: “Malcolm as Messiah: Cultural Myth vs. Historical Reality in Malcolm X,” 19:4, 7-9

Marcus, Louis: “Irish Cinema at the Crossroads: A Filmmakers’ Symposium,” 24:2-3, 72

Marker, Chris: “The Last Bolshevik: Reminiscences of Alexander Ivanovich,” 33:4, 12-13

Marris, Paul: “Northern Realism: An Exhausted Tradition?,” 26:4, 47-50

Marsh, Calum: “Small Change: The Late Films of Francis Ford Coppola,” 40.3, 32–35

Martin, Adrian: “A Cinema of Intimate Spectacle: The Poetics of Philippe Garrel,” 34:4, 37-41

—————: “Chris Marker: Notes in the Margin of His Time,” 33:4, 6-9

—————: “Chronicles of a Backsliding Cinephile, or The Two Daves,” 28:3, 11-13

—————: “In the Mood for (Something Like) Love: The Situation of the Rom-Com Today,” 39.1, 16–20

—————: “International Film Criticism Today: A Critical Symposium,” 31:1, 31

—————: Contribution to “Rethinking Television: A Critical Symposium on the New Age of Episodic Narrative Storytelling,” 39.4, 26–38

—————: “The Dream Team: The Parker Tyler and Siegfried Kracauer Correspondence, 1947–1960,” 40.1, 20–25

—————: “What’s Cult Got To Do With It?: In Defense of Cinephile Elitism,” 34:1, 39-42

Mask, Mia: “Buppy Love in an Urban World,” 25:2, 41-45

—————: “Eve’s Bayou: Too Good to be a Black Film?,” 23:4, 26-27

McAdam, Trish: “Irish Cinema at the Crossroads: A Filmmakers’ Symposium,” 24:2-3, 72

McBride, Joseph: “Alfred Hitchcock’s Mary Rose: An Old Master’s Unheard Cri de Coeur,” 26:2, 24-28

—————: Contribution to “The Art and Craft of Film Biography: A Critical Symposium,” 38.3, 16-25

McCarthy, Todd: “Film Criticism in America Today: A Critical Symposium,” 26:1, 36-37

McCarty, Robert J.: “The Evening Course in Basic Film Production at The School of Visual Arts,” 2:1, 22-23

McClung, Clinton: “The Political Documentary in America Today,” 30:3, 35-36

McCormick, Ruth: “Christian Metz and the Semiology Fad,” 6:4, 23-25

—————: “Fascism à la mode or Radical Chic? (on The Night Porter),” 6:4, 30-34

—————: “Fassbinder and the Politics of Everyday Life—A Survey of His Films,” 8:2, 22-30

—————: “In Defense of Nashville,” 7:1, 22-25 & 51

—————: “In the Realm of the Senses,” 7:4, 32-34

—————: “Ritual, the Family and the State: A Critique of Nagisa Oshima’s The Ceremony,” 6:2, 20-26

—————: “The Devil Made Me Do It!—A Critique of The Exorcist,” 6:3, 18-22

—————: “The Oberhausen Film Festival: Whither the Short Film?,” 7:3, 30-31

—————: “Werner Herzog’s Heart of Glass—Pro,” 8:4, 32-33

—————: “Women’s Liberation Cinema,” 5:2, 1-7

McCreadie, Marsha: “Latter Day Loreleis: New Screen Heroines,” 12:2, 16-18

McCreadie, Marsha & Karen Jaehne: “Great Belles of Fire: Southern Women on the Screen,” 17:4, 20-21 & 64

McGilligan, Patrick: “Before Citizen Kane: Orson Welles and the Making of Too Much Johnson,” 40.4, 4–7

—————: Contribution to “The Art and Craft of Film Biography: A Critical Symposium,” 38.3, 16-25

—————: “John Wayne: The Life and Legend,” 39.3, 23–27

—————: “What is ‘Great’ Acting?” 31:4, 36-39

McIlroy, Brian: “Challenges and Problems in Contemporary Irish Cinema: The Protestants,” 24:2-3, 56-60

McKenna, Pat: “Camera, Action, Let’s Pretend?” 1:3, 18-19

McLoone, Martin: “Challenging Colonial Traditions: British Cinema in the Celtic Fringe,” 26:4, 51-54

—————: “Reimagining the Nation: Themes and Issues in Irish Cinema,” 24:2-3, 28-34

—————: “The Abused Child of History: Neil Jordan’s The Butcher Boy,” 23:4, 32-37

Mehrabi, Massoud: “A Bed and Several Dreams: A Short History of Iranian Cinema,” 31.3, 38-39 +47.

Mellen, Joan: “Artur London and Costa–Gavras: The Politics of The Confession,” 4:3, 25-32

—————: “Executive Action: The Politics of Distortion,” 6:2, 23-25

Melville, Annette: Contribution to “Film Preservation: A Critical Symposium,” 36.4, 47

Menashe, Louis: “Border Crossing in the Baltic: The ‘Transit Zero’ Film Conference,” 26:3, 63-64

—————: “Chapayev and Company: Films of the Russian Civil War,” 30:4, 18-22

—————: “Ethnic Identities at the Thessaloniki Film Festival,” 24:4, 45-46

—————: “Glasnost in the Soviet Cinema,” 16:1-2, 28-33

—————:: “Five Evenings with Nikita Mikhalkov,” 36.3, 26-31

—————: “Lisbon’s International Encounters in Documentary Cinema,” 23:3, 55

—————: “Moscow Believes in Tears: The Problems (and Promise?) of Russian Cinema in the Transition Period,” 26:3, 10-17

—————: “New Soviet Documentaries,” 19:2-3, 80-81

—————: “Passage to the Balkans at the Thessaloniki Film Festival,” 25:3, 37-38

—————: “Patriotic Gauze, Patriotic Gore: Russians at War,” 29:3, 26-29

—————: “Requiem for Soviet Cinema 1917-1991,” 21:1-2, 23-27

—————: “The Istanbul Film Festival,” 31:4, 100-101

—————: “The Lonely Voice of Sokurov: Documentaries on the Russian Experience from a Russian Master,” 33:1, 24-26

—————: “The Thessaloniki Film Festival,” 28:3, 60

—————: “Woman with a Movie Camera: The Films of Marina Goldovskaya,” 24:2-3, 85-86

Michael, Robert: “A Second Look: Night and Fog,” 12:4, 36-37

Michalczyk, John: “Franco Solinas: The Dialectic of Screenwriting,” 13:2, 30-33

Michalek, Laurence: “The Arab in American Cinema: A Century of Otherness,” 17:1, supp. 3-9

Michel, Frann: “Racial and Sexual Politics in The Crying Game,” 20:1, 30 & 32 & 34

Milch, David: Contribution to “Rethinking Television: A Critical Symposium on the New Age of Episodic Narrative Storytelling,” 39.4, 26–38

Milgrom, Al: “The Sarajevo Film Festival,” 24:1, 89

Miller, Jonathan: “The Political Documentary in America Today,” 30:3, 36

Miller, Tom: “Class Reunion: Salt of the Earth Revisited,” 13:3, 30-36

Möller, Olaf: “International Film Criticism Today: A Critical Symposium,” 31:1, 35

Monaco, James: “Essay on ‘The Left and Porno’,” 7:4,29

—————: “The Costa–Gavras Syndrome,” 7:2, 18-21 & 51

—————: “Gordon Parks’s Leadbelly,” 8:2, 40

Monk, Claire: “Projecting a New Britain,” 26:4, 34-37 & 42

Mooij, Thessa: “The New Bollywood: No Heroines, No Villains,” 31:3, 30-35

Moseley-Wood, Rachel: “Babymother,” 26:4, 61

Moss, Marilyn Ann: “The Tough and Tender Sides of a ‘Mad Dog’ Classic,” 36.2, 6-11

Muir, Anne Ross: “The British Film Industry: Dead or Alive?” 12:3, 12-15

Mulkerns, Helena: “Film in the Fifth Province,” 24:2-3, 50-54

Mulligan, Terence: “The Galway Film Fleadh,” 24:1, 88

Murch, Walter: “The Art and Craft of Film Editing,” 34:2, 54-64

Murphy, A.D.: “Students: Stay Out of Hollywood,” 2:2, 7-8 & 27

Murray, Jonathan: “A Vision from the Past: Revisiting the Films of Derek Jarman,” 38.3, 4-9

Musser, Charles: “Festivals: Glasnost Film Festival,” 17:2, 27-28

—————: “What Is the Right Thing?: A Critical Symposium on Spike Lee’s Do the Right Thing,” 17:4, 33-39

Muwakkil, Salim: “What Is the Right Thing?: A Critical Symposium on Spike Lee’s Do the Right Thing,” 17:4, 33-39

Naficy, Hamid: “Making Films with an Accent: Iranian Emigré Cinema,” 31:3, 42-44.

Naremore, James: “Acting in the Cinema,” 31:4, 61-62

Nayman, Adam: Contribution to “Rethinking Television: A Critical Symposium on the New Age of Episodic Narrative Storytelling,” 39.4, 26–38

Neibaur, James: “Movies á la MOD,” 35.3, 28-31

—————: “Return of the Emperor: A Special Screening of a Newly Restored Version of Abel Gancés Napoleon,” 37.2, 36-39

—————: “The Stooges, At Last, Get Some Respect,” 29:1, 12-14

Neve, Brian: “Working-Class Noir in the Blacklist Era: The Making of Cy Endfield’s The Sound of Fury,” 40.2, 23–29

Newitz, Annalee: “Whites on Film (book reviews of The Birth of Whiteness: Race and the Emergence of U.S. CinemaWhite and Blackface, and White Noise: Jewish Immigrants in the Hollywood Melting Pot),” 25:2, 46-47

Nichols, Bill: “Critical Approaches to Film—Then and Now,” 5:2, 8-14

—————: “Newsreel: Film and Revolution,” 5:4, 7-13

—————: “The Conformist,” 4:4, 19-23

—————: “The Film School and Political Action,” 4:1, 26-28 & 35

Nierop, Leon van: “International Film Criticism Today: A Critical Symposium,” 31.1, 41-42.

Ning, Ma: “New Chinese Cinema: A Critical Account of the Fifth Generation,” 17:3, 32-35

Niroumand, Mariam: “German as a Foreign Language: Fassbinder on Video,” 20:1, 52-53

Nochimson, Martha P.: A Second Look: Touchez pas au grisbi,” 30:1, 26-27

—————: “Beautiful Resistance: The Early Films of Wong Kar-wai,” 30:4, 9-13

—————: “The Istanbul Film Festival,” 33:4, 81-82

—————: “Val Lewton at RKO: The Social Dimensions of Horror,” 31:4, 9-17

Noll, Mark: Contribution to “What Historians Think About Spielberg’s Lincoln, 38.2, 13-19

Nussbaum, Albert F.: “Let Me Tell You About Prison Movies,” 5:4, 45-47

O’Brien, Harvey: “Documenting Ireland,” 24:2-3, 64-69

O’Donoghue, Darragh: “A Girl Named Joe: Nymphets, Nymph()maniac, and Lars von Trier,” 39.3, 10–15

—————: “Monsieur Hulot’s History: Jacques Tati Pictures Modern France,” 40.2, 12–17

Osiel, Mark: “Bye Bye, Boredom: Brazilian Cinema Comes of Age,” 14:1, 30-35

O’Sullivan, Thaddeus: “Irish Cinema at the Crossroads: A Filmmakers’ Symposium,” 24:2-3, 72-73

O’Toole, Fintan: “Working-Class Dublin on Screen: The Roddy Doyle Films,” 24:2-3, 36-39

Pachter, Henry: “Our Hitler, or His?,” 10:2, 25-27

Pacific St. Film Collective: “The Agony and the Ecstasy of Radical Film Production,” 6:2, 43-45

Palestinian Cinema Group: “The Palestinian Cinema and the National Question: Manifesto of the Palestinian Cinema Group,” 9:3, 35

Pally, Marcia: “Order vs. Chaos: The Films of Peter Greenaway,” 18:3, 3-5, 37

—————: “The Cinema as Secular Religion (Woody Allen Critical Symposium),” 23:3, 32-33

—————: “Taxi Blues,” 18:2, 22-23 & 27

—————: “The Politics of Passion: Pedro Almodovar and the Camp Esthetic,” 18:1, 32-35 & 38-39

Pappas, Peter: “A Second Look at Jean Renoir’s The Crime of Monsieur Lange,” 10:3, 28-31

—————: “Culture, History and Cinema—A Review of The Traveling Players,” 7:4, 36-39

—————: “The Superimposition of Vision: Napoleon and the Meaning of Fascist Art,” 11:2,4-13

Paquet, Andre: “The 7th Carthage Film Festival,” 9:3, 39

—————: “The ‘Fespaco’ of Ouagadougou—Towards Unity in African Cinema,” 6:1, 36-38

—————: “Toward an Arab and African Cinema—The 1974 Carthage Film Festival,” 7:1, 19-21

Patrick, Robert: “Great Lost Films,” 6:2, 19

—————: “Little Known Cinematic Turkeys,” 17:1, 23

Patrick, Robert (with William Haislip): “Thank Heaven for Little Girls—An Examination of the Male Chauvinist Musical,” 6:1, 22-25

Patry, Yvan: “Cinema as It Relates to the Forces of Our Society,” 5:3, 10-19

Paul, David: “Festivals: The Fifteenth Festival of Polish Feature Films,” 18:2, 56-57

—————: “Homevideo: Andrzej Wajda’s War Trilogy,” 20:4, 52-54

—————: “The Esthetics of Courage: The Political Climate of the Cinema in Poland and Hungary,” 14:4, 4-9

Pearlman, Karen: “Cutting Rhythms in Chicago and Cabaret,” a contribution to “The Art and Craft of Film Editing” supplement, 34:2, 28-32

Peary, Danny: Contribution to “Cult Cinema: A Critical Symposium,” 34:1, 47-48

Peary, Gerald: “Istanbul Film Festival,” 20:1, 50-51

Peavy, Charles D.: “An Afro-American in Paris: The Films of Melvin Van Peebles,” 3:1, 2-3

—————: “Black Film Makers: The Films of Richard Mason,” 2:4, 4-5 & 31

—————:  “Cinema from the Slums,” 3:2, 11-12 & 36

Peña, Richard:  “Contribution to Repertory Film Programming: A Critical Symposium,” 35.2, 38-53

—————:: “Iranian Cinema at the Festivals,” 31:3, 40-41

Pendleton, Thomas: “Shakespeare with Additional Dialog,” 24:1, 62-66

Peranson, Mark: “First You Get the Power, Then You Get the Money: Two Models of Film Festivals,” 33:3, 37-43

Pérez Millán, Juan Antonio: “Women Are Also the Future: Women Directors in Recent Spanish Cinema,” 29:1, 50-55

Perkins, Eric: “Renewing the African-American Cinema: The Films of Spike Lee,” 17:4, 4 -8

Petras, James: “The Discrediting of the Fifth Estate: The Press Attacks on JFK,” 19:1, 15-17

Petrie, Duncan: “Devolving British Cinema: The New Scottish Cinema and the European Art Film,” 26:4, 55-57

Pettitt, Lance: “A Construction Site Queered: Gay Images in New Irish Cinema,” 24:2-3, 61-63

Phillips, Julie: “Growing Up Black and Female: Leslie Harris’s Just Another Girl on the IRT,” 19:4, 86-87

Pingree, Geoff: “Pedro Almodóvar and the New Politics,” 30:1, 4-8

Pipolo, Tony: “Fire and Ice: The Films of Robert Bresson,” 31:2, 22-27

—————: “Hero or Demagogue?: Images of Lincoln in American Film,” 35.1, 14-21

—————: “Joan of Arc: The Cinema’s Immortal Maid,” 25:4, 16-21

—————: “Stanley Kubrick’s History Lessons,” 34:2, 6-11

—————: “Straight from the Heart: Re-Viewing the Films of Rainer Werner Fassbinder,” 29:4, 18-25

—————: “The Modernist & the Misanthrope: The Cinema of Stanley Kubrick,” 27:2, 4-15, 49

Platt, Françoise: “New African Cinema,” 22:4, 58-59

Pogorzelski, Michael: Contribution to “Film Preservation: A Critical Symposium,” 36.4, 48

Pontell, Jonathan: “Open,” 2:1, 18 & 36

Portabella, Pere: Contribution to “The Prospects for Political Cinema Today:” A Critical Symposium,” 37.1, 6-17

Porton, Richard: “A Second Look: L’Atalante,” 18:2, 54-55

—————: “A Second Look: The Wages of Fear,” 19:1, 61-62

—————: “A Tale of Two Festivals: Fort Lauderdale and Gwangju,” 27:2, 48

—————: “American Dreams, Suburban Nightmares,” 20:1, 12-15

—————: “Anarchists on Film: From Mad Bombers to Secular Saints,” 24:2-3, 10-16

—————: “Beyond Hollywood at the Toronto International Film Festival,” 27:1, 47-48

—————: “Documentary Cinema and RealityHunger,” 36.3, 10-14

—————: “Eclecticism Triumphs at the Montreal World Film Festival,” 27:1, 46-47

—————: “Festival de Cannes 2003,” 28:4, 52-53

—————: “Festivals: The Montreal World Film Festival,” 21:4, 60-61

—————: Contribution to “Film Criticism: The Next Generation,” 38.2, 35-40

—————: “Lisbon’s International Encounters in Documentary Cinema,” 24:4, 46-47

—————:  “More than ‘Visual Froufrou’: The Politics of Passion in the Films of Max Ophuls,” 35.4, 8-13

—————:  “Only Connect: Adam Curtis and His Discontents,” 39.2, 24–29

 

—————: “The 2004 Cannes Film Festival,” 29:4, 51, 67.

—————: “The Bangkok International Film Festival,” 30:3, 55

—————: “The Berlin International Film Festival,” 33:3, 84-85

—————: “The Cannes Film Festival,” 31:4, 99-100

—————: “The Cannes Film Festival,” 32:4, 71-72

—————: “The Cannes Film Festival,” 33:4, 82-84

—————: “The Cannes Film Festival,” 34:4, 74-75

—————: “The Flanders International Film Festival,” 28:3, 61

—————: “The Fort Lauderdale Film Festival,” 25:3, 38-39

—————: “The Fort Lauderdale International Film Festival,” 22:4, 63

—————: “The International Film Festival Rotterdam,” 32:3, 98-99

—————: “The Istanbul Film Festival,” 30:1, 73-74

—————: “The Montreal Festival du Nouveau Cinéma,” 30:2, 73-74

—————:  “The Montreal Film Festival,” 31:2, 84

—————: “The Montreal World Film Festival,” 24:1, 85-86

—————: “The Montreal World Film Festival,” 28:1, 30-31

—————: “The Politics of American Cinephilia: From the Popular Front to the Age of Video,” 27:4, 4-10

—————: “Rotterdam International Film Festival,” 29:3, 66-67

—————: “The Toronto International Film Festival,” 34:1, 82-83

—————: “The Toronto International Film Festival at the Crossroads,” 36.1, 32-35

—————: “The Toronto Film Festival,” 30:1, 70-71

—————: “The Toronto Film Festival,” 32:1, 82-83

—————: “The Toronto Film Festival,” 33:1, 90-91

—————: “The Year of the ‘Doc’ in Toronto,” 29:1, 90-91

—————: “Weapon of Mass Instruction: Michael Moore’s Fahrenheit 9/11,” 29:4, 3-7

Porton, Richard and Sklar, Robert: “The Toronto International Film Festival,” 28.1, 28-29.

Potter, Sally: Contribution to “The Prospects for Political Cinema Today:” A Critical Symposium,” 37.1, 6-17

Power, Paul: “The Irish Are Rising Again: Profiles of New Filmmaking Talents,” 24:2-3, 74-75

Pratt, Douglas: “The Best DVD Audio Commentaries,” 35.3, 17-21

Presencia Editorial: “Blood of the Condor and the Rats,” 4:3, 13

Pressler, Michael: “How to Avoid Bad Films,” 13:2, 51

Prince, Barry: “But I Couldn’t Get a Job,” 1:4, 9-11 & 34

Prins, Nomi: “Dollars and Sense: New Documentaries on the Financial Crises” and “Investigating the Federal Reserve: Making Money—and Profits—Out of Thin Air,” 34:4, 23-29

Professional Association of Quebec Cineastes: “Cinema: Another Face of Colonized Quebec: Quebec Filmmakers’ Manifesto,” 5:3, 21-26

Protti, Daniele: “Letter from Italy,” 3:3, 26 & 28

Protti, Daniele and Alberto Cattini: “Political Engagement in the Italian Cinema,” 3:4, 28-29

Purdy, Jim: “The Worker and Hollywood,” 9:1, 8-13

Quacinella, Lucy: “How Left is Lina?,” 7:3, 15-17

el Qualyoubi, Mohammed Kamel: “The Role of the Film Critic in an Underdeveloped Society,” 9:4, 36-37

Quandt, James: Contribution to “From 35mm to DCP: A Critical Symposium,” 37.4, 32-47

—————: “Contribution to Repertory Film Programming: A Critical Symposium,” 35.2, 38-53

Quart, Barbara: “A Few Short Takes on Eastern European Film,” 19:4, 63-64

—————: “A Second Look: Boys Town,” 21:3, 55-57

—————: “A Step in the Right Direction for Hollywood,” a contribution to “Platoon on Inspection: A Critical Symposium,” 15:4, 4-11

—————: “Between Materialism and Mysticism: The Films of Larissa Shepitko,” 16:3, 4-11

—————: “The Short Films of Jane Campion,” 19:1, 72 & 62

—————: “Three Central European Women Directors Revisited,” 19:4, 58-61

Quart, Leonard: “A Second Look: The Pawnbroker,” 25:2, 48-50

—————: “America’s New Wave Cinema of the Fifties” (on the films of Morris Engel), 23:3, 56-57

—————:  “Early Bergman” (includes reviews of TormentCrisisPort of CallThirst and To Joy), 32:4, 55-58

—————: “Ingmar Bergman: The Maestro of Angst,” 29:4, 30-35.

—————: “Letter from London,” 20:1, 22-23

—————: “Mike Leigh’s Meantime: Desolate Lives in London,” 23:2, 46-47

—————: “Spike Lee’s Clockers: A Lament for the Urban Ghetto,” 22:1, 9-11

—————: “The Montreal World Film Festival,” 24:1, 85-86

—————: “Woody Allen’s New York,” 19:2-3, 16-19

—————: “Woody Allen’s Reflexive Critics (Woody Allen Critical Symposium),” 23:3, 34-35

—————: “Yiddish Cinema on Home Video,” 19:1, 70-72

—————: “The Triumph of Assimilation: Ethnicity, Race and the Jewish Moguls,” 18:4, 8-11

—————: “A Second Look: A Face in the Crowd,” 17:2, 30-31

—————: “A Second Look: Allonsanfan,” 16:1-2, 62-63 & 91

—————: Contribution to “Marxist Film Criticism: A Symposium,” 9:4, 21-22

—————: “The Final Word: American Realist Film,” 16:3, 64

—————: “Hollywood and Vietnam: The Triumph of the Will,” 9:3, 4-9

—————: “Frank Capra and the Popular Front,” 8:1, 4-7

—————: “1900—Bertolucci’s Marxist Opera,” 8:3, 24-27

Quart, Leonard & Al Auster: “The Working Class Goes to Hollywood,” 9:1, 4-7

Quart, Leonard & Stuart Liebman: “Czech Films of the Holocaust: Diamonds of the NightTransport from Paradise and Dita Saxova,” 22: 1, 49-51

—————: “Lost and Found: Wanda Jakubow-ska’s The Last Stop,” 22:4, 43-45

Quinn, Bob: “Irish Cinema at the Crossroads: A Filmmakers’ Symposium,” 24:2-3, 73

Quintana, Alvina: “Race, Class and Gender in Darnell Martin’s I Like it Like That,” 22:3, 30-31

Radical American Film: A Questionnaire, including responses by Peter Biskind, Ernest Callenbach, Tom Brom, Todd Gitlin, Irwin Silber, et al., 5:4, 14-20

Radical American Film Questionnaire Part II: Responses from Radical Film Critics and Filmmakers, including Ernest Callenbach, Chuck Kleinhans, Julia Lesage, Irwin Silber, Toward Revolutionary Art, Women & Film, Michael Goodwin, Cine Manifest, Leonard Henny, Jon Jost, Marc Weiss, Ralph Diamant, et al., 6:1, 14-21

Radical Education Project: “The Cineaste in Society and Mass Media, Advertising and the Arts,” 3:3, 2-3

Rafael, George: “The Discreet Charms of Luis Buñuel: A Centenary Tribute,” 25:2, 32-33

Rainer, Peter: “Film Criticism in America Today: A Critical Symposium,” 26:1, 37-38

Rainowitz, Paula: “The Political Documentary in America Today,” 30:3, 31

Ramonet, Ignacio: “Italian Westerns as Political Parables,” 15:1, 30-35

Randall, Margaret: “Portrait of Teresa: A Letter from Havana,” 10:1, 26

Rapfogel, Jared: “A Steady Gaze: The Films of Manoel de Oliveira,” 33:3, 14-17

—————: “Cautionary Tales and Alternate Histories: The Films of Peter Watkins,” 32:2, 20-25

—————: Contribution to “Rethinking Television: A Critical Symposium on the New Age of Episodic Narrative Storytelling,” 39.4, 26–38

—————: “The Delirious Fictions of William Klein,” 33:4, 20-23

—————: “The Istanbul Film Festival,” 32:4, 73-74

—————: “The Jeonju Film Festival,” 33:4, 84-85

—————: “The Screwball Social Studies of Preston Sturges,” 31:3, 6-12

Rapfogel, Jared & Andrew Lampert: Contribution to “Film Preservation: A Critical Symposium,” 36.4, 40

Rapping, Elayne: “A Feminist’s Love/Hate Relationship with Woody (Woody Allen Critical Symposium),” 23:3, 37-38

—————: “Hollywood’s Youth Cult Films,” 16:1-2, 14-19

—————: “Liberation in Chains: The Woman Question in Hollywood,” 17:1, 4-8

—————: “Made for TV Movies: The Domestication of Social Issues,” 14:2, 30-33

—————: “Thelma & Louise: Feminism Gets the Hollywood Treatment,” 18:4, 30-32

Rasenberger, Jean & Lynn Jackson: “Young, British, and Black,” 16:4, 24-25

Ratschewa, Maria: “Thc Messianic Power of Pictures: The Films of Andrei Tarkovsky,” 13:1, 27-29

Reardon, Kiva: Contribution to “Film Criticism: The Next Generation,” 38.2, 35-40

Reichardt, Kelly: Contribution to “The Prospects for Political Cinema Today:” A Critical Symposium,” 37.1, 6-17

Renov, Michael: “The Political Documentary in America Today,” 30.3, 29-30.

Rhines, Jesse Algeron: “Spike Lee, Malcolm X, and The Money Game: The Compromises of Crossover Marketing,” 19:4, 17-18

—————:  “The Political Economy of Black Film,” 21:3, 38-39

Rhodes, Lucille & David Sterritt: “Monty Python: Lust for Glory,” 26:4, 18-23

Riambau, Esteve: “Public Money and Private Business (or How to Survive Hollywood’s Imperialism): Film Production in Spain (1984-2002),” 29:1, 56-61

Rithdee, Kong: “International Film Criticism Today: A Critical Symposium,” 31:1, 42

—————: “Filming Locally, Thinking Globally: The Search for Roots in Contemporary Thai Cinema,” 36.4, 16-19

Robb, David: “Naming the Right Names: Amending the Hollywood Blacklist,” 22:2, 24-29

Robinson, Harlow: “Lewis Milestone: The Russian Connection,” 37.2, 10-14

Rockett, Kevin: “Irish Cinema: The National in the International,” 24:2-3, 23-25

Rodowick, D. N. : Contribution to “From 35mm to DCP: A Critical Symposium,” 37.4, 32-47

Roffman, Peter: “Black Images on White Screens,” 13:3, 14-21

—————: “The Worker and Hollywood,” 9:1, 8-13

Rogin, Michael: “Nowhere Left to Stand: The Burnt Cork Roots of Popular Culture,” a contribution to “Race, Media and Money: A Critical Symposium on Spike Lee’s Bamboozled,” 26:2, 14-15

Romani, Rebecca: “The Hazards of Occupation: Documentaries by and about Palestinians and Israelis in the Occupied Territories,” 34:3, 25-31

Romney, Jonathan: “British Cinema Questionnaire,” 26:4, 66

—————: “International Film Criticism Today: A Critical Symposium,” 31:1, 44

Rosen, Miriam: “Arab Film Festival,” 15:4, 30-31

—————:  “Bibliography and Filmography on the Arab Image in Media,” 17:1, supp. 21-23

—————: “Festivals: Amiens International Film Festival,” 17:1, 26-27 & 55

—————: “Isabelle Adjani: The Actress as Political Activist,” 17:4, 22-24

—————: “The Three Continents Festival,” 16:3, 27-29 & 17

Rosenbaum, Jonathan: Contribution to “From 35mm to DCP: A Critical Symposium,” 37.4, 32-47

—————: “DVDs: A New Form of Collective Cinephilia,” 35.3, 15-16

—————:  “Film Criticism in America Today: A Critical Symposium,” 26:1, 38-39

—————: “National Cinema Histories on Video,” 23:2, 48-50

—————:  “Rediscovering Charlie Chaplin,” 29:4, 52-56

—————: “The Battle Over Orson Welles,” 22:3, 6-10

Rosenstone, Robert A.: “History, Memory, Documentary: A Critique of The Good Fight,” 17:1, 12-15

—————: “Inventing Historical Truth on the Silver Screen,” 29:2, 29-33

Rothwell, Kenneth: “Orson Welles: Shakespeare for the Art Houses,” 24:1, 28-33

—————: “Shakespeare Goes Digital,” 25:3, 50-52

Rubenstein, Lenny: “It Happened Here—A Second Look,” 6:4, 36-37

—————: “Lacombe, Lucien—The Fascism of Banality,” 6:4, 10-12

—————: “The Final Word: Formalism Stages a Comeback,” 15:2, 60

—————: “The Wondrous Return of the Wacky—Monty Python’s Flying Circus,” 7:1,14-18

—————: “The Politics of Spy Films,” 9:3, 16-21

—————: “Where Have All the Nazis Gone?” 8:2, 32-35

Rubenstein, Lenny & Ernie Brill: “The Best Are Dead or Numb: A Second Look at Andrzej Wajda’s Ashes and Diamonds,” 11:3, 22-26

Ruppert, Peter: “Blade Runner: The Utopian Dialectics of Science Fiction Films,” 17:2, 8-13

Russell, Catherine: “Men with Swords and Men with Suits: The Cinema of Akira Kurosawa,” 28:1, 4-13

Russell, Michelle: “Blue Collar—Detroit Moviegoers Have Their Say,” 8:4, 28

Samak, Qussai: “The Arab Cinema and the National Questions: From the Trivial to the Sacrosanct,” 9:3, 32-34

 —————: “The West as Seen Through the Arab’s Cinema: Three Perspectives,” 9:4, 32-35

Samuels, Shirley: Contribution to “What Historians Think About Spielberg’s Lincoln, 38.2, 13-19

Sanjek, David: “Home Alone: The Phenomenon of Direct-to-Video,” 21:1-2, 98-100

Sanjines, Jorge: “Cinema and Revolution,” 4:3, 13-14

Santaolalla, Isabel: “The Representation of Ethnicity and ‘Race’ in Contemporary Spanish Cinema,” 29.1, 44-49.

Sarris, Andrew: “Film Criticism in America Today: A Critical Symposium,” 26:1, 39-40

Sato, Tadao: “International Film Criticism Today: A Critical Symposium,” 31:1, 39

————: “The Spirit of Compassion: Kurosawa’s Rhapsody In August,” trans. Linda Ehrlich, 19:1, 49-49

Sawhney, Cary Rajinder: “ ‘Another Kind of British’: An Exploration of British Asian Films,” 26:4, 58-61

Sayles, John: Contribution to “The Prospects for Political Cinema Today:” A Critical Symposium,” 37.1, 6-17

Scalia, Pietro: “The Art and Craft of Film Editing: A Critical Symposium,” 34:2, 54-64

Schechter, Danny: “The Political Documentary in America Today,” 30:3, 31-32

Schickel, Richard: “Film Criticism in America Today: A Critical Symposium,” 26:1, 40-41

Schiff, Morty: “Homevideo: Jean Cocteau: Poet of the Cinema,” 20:3, 60-62

Schmidt, Arthur: “The Art and Craft of Film Editing: A Critical Symposium,” 34:2, 54-64

Schoonmaker, Thelma: “The Art and Craft of Film Editing: A Critical Symposium,” 34:2, 54-64

Schulman, Sarah: “Thelma & Louise: The Movie Management of Rape,” 18:4, 34-35

Schwartz, Barry: Contribution to “What Historians Think About Spielberg’s Lincoln, 38.2, 13-19

Schwartz, David:  “Contribution to Repertory Film Programming: A Critical Symposium,” 35.2, 38-53

Schwarzbaum, Lisa: “Film Criticism in America Today: A Critical Symposium,” 26:1, 41-42

Sconce, Jeffrey: Contribution to “Cult Cinema: A Critical Symposium,” 34:1, 48-49

Seitz, Matt Zoller: Contribution to “Rethinking Television: A Critical Symposium on the New Age of Episodic Narrative Storytelling,” 39.4, 26–38

Sekuler, Adam:  “Contribution to Repertory Film Programming: A Critical Symposium,” 35.2, 38-53

Sengoopta, Chandak: “Satyajit Ray: Liberalism and Its Vicissitudes,” 34:4, 16-22

Shah, Amit: “A Dweller in Two Lands: Mira Nair, Filmmaker,” 15:3, 22-23

Shaheen, Jack: “Aladdin: Animated Racism,” 20:1, 49

—————: “TV: Arab as Terrorist,” 17:1, supp. 10-12

Shapps, Tony: “What Do We Mean by Widescreen?” 1:2, 10-11 & 17

Sharrett, Christopher: “Debunking the Official History: The Conspiracy Theory in JFK,” 19:1, 11-14

—————: “Reconciliation and the Politics of Forgetting: Notes on Civil War Documentaries,” 36.4, 26-31

—————: Contribution to “Rethinking Television: A Critical Symposium on the New Age of Episodic Narrative Storytelling,” 39.4, 26–38

—————: “The Alamo: Fact, Fiction and the Last Stand of History,” 29:4, 14-17

—————: “The Belly of the Beast: Oliver Stone’s Nixon and the American Nightmare,” 22:1, 4-8

—————: “The Problem of Saw: ‘Torture Porn’ and the Conservatism of Contemporary Horror Films,” 35.1, 32-37

—————: “Through a Door Darkly: A Reappraisal of John Ford’s The Searchers,” 31:4, 4-8

—————: “Zulu, or The Limits of Liberalism,” 25:4, 28-33 

Sharrett, Christopher & Royal Brown: “No Country for Old Men: Pro & Con Reviews of Hollywood's 'Best Picture of the Year',” 33:3, 8-13

Shedde, Meenakshi: “Bollywood Cinema: Making Elephants Fly,” 31:3, 24-29

—————: “International Film Criticism Today: A Critical Symposium,” 31:1, 37

Sherman, Susan: “Essay on ‘The Left and Porno’,” 7:4, 29-30

Shohat, Ella: “Festivals: The Carthage Film Festival,” 21:3, 56-57

—————: “The Return of the Repressed: The Palestinian Wave in Recent Israeli Cinema,” 15:3, 10-17

Shulevitz, Judith: “Festivals: Margaret Mead Film Festival,” 18:3, 58-59

Sicinski, Michael: “Dreaming in Cinema: Capturing the Imagination of Apichatpong Weerasethakul,” 36.2, 26-29

—————: “The Quicksand We’re In: Aleksei Gherman and History,” 40.3, 39–43

Sigal, Clancy: “Black Sunset: Hollywood Sex, Lies, Glamour, Betrayal, and Raging Egos,” 40.4, 16–21

Siddali, Silvana: Contribution to “What Historians Think About Spielberg’s Lincoln, 38.2, 13-19

Sikov, Ed: Contribution to “The Art and Craft of Film Biography: A Critical Symposium,” 38.3, 16-25

 —————: “Homosexuals, Bandits, and Gangsters: Gay Image in La Cage aux Folles,” 11:4, 30-35 & 56

—————: “What the Hell Was That?” Reading Along with the Avant-Garde,” 37.3, 33-35

Silber, Irwin: “Contribution to Marxist Film Criticism: A Symposium,” 9:4, 18

—————: “Marxist Film Criticism: A Reply,” 10:1, 44-46

Silvestri, Roberto: “International Film Criticism Today: A Critical Symposium,” 31:1, 38

Simon, Art: “The Making of Alert Viewers: The Mixing of Fact and Fiction in JFK,” 19:1, 14-15

Simon, Bill: “The NYU Cine-Strike,” 3:4, 21-22

Simon, John: “Film Criticism in America Today: A Critical Symposium,” 26:1, 42

Simpson, Bev: “Black Images on White Screens,” 13:3, 14-21

Sinberg, Stan: “King of the Box Office Bombs,” 28.3, 61.

Sjöman, Vilgot: “An Egret in the Porno Swamp—Notes on Sex in the Cinema,” 8:2, 18-19

Sklar, Robert: “A Second Look: We Were Strangers,” 15:3, 56-57

—————: “Beyond Hoopla: The Cannes Film Festival and Cultural Significance,” 22:3, 18-20

—————: “Cineaste’s Early Years: The Quest for a Radical, Readable Film Criticism,” 32:4, 34-37

—————: “The Devil’s Director,” 20:3, 18- 21

—————: “Dogma Days at Cannes,” 23:4, 42-44

—————: Editorial Introduction to “Platoon on Inspection: A Critical Symposium,” 15:4, 4-11

—————: “Hidden History, Modern Hedonism: The Films of Hou Hsiao-hsien,” 27:4, 11-12

—————: “Homevideo: Heaven’s Gate,” 14:4, 60-69

—————: “Red River: Empire to the West,” 9:1, 14-19

—————: “Saint Alan and the Prince of Perversion,” 18:2, 5 & 11

—————: “Snobs and Snubs at Cannes,” 24:4, 25-27

—————: “To Honor Your Country, Criticize It: Amos Gitai’s Israeli Fiction Films,” 35.4, 19-23

—————: “What Is the Right Thing?: A Critical Symposium on Spike Lee’s Do the Right Thing,” 17:4, 33-39

—————: “When Looks Could Kill: American Cinema of the Sixties,” 16:1-2, 50-53

Sklar, Robert and Tania Modleski: “Million Dollar Baby: A Split Decision,” 30:3, 6-11

Skolnick, Dylan:  “Contribution to Repertory Film Programming: A Critical Symposium,” 35.2, 38-53

Slapsak, Svetlana: “Representations of Gender as Constructed, Questioned and Subverted in Balkan Films,” 32:3, 37-40

Slide, Anthony: “The American Press and Public v. Charles Spencer Chaplin,” 13:4, 6-9

Sloan, Kay: “A Cinema in Search of Itself: Ideology of the Social Problem Film During the Silent Era,” 14:2, 34-37 & 56

Smith, Henry: “Goebbels in Space: Government Use of Telecommunications,” 5:4, 37-44

Smith, Richard Harland: “The Battle Inside: Infection and the Modern Horror Film,” 35.1, 42-45

Smoodin, Eric: “The Legacy of Frank Capra,” 30:1, 16-19

Snitow, Ann & Georgakas, Dan: “Talking About On the Line,” 8:1, 28-31

Solanas, Fernando and Octavio Getino: “Toward a Third Cinema,” 4:3, 1-10

Southern, Nile: “End of the Road Rides Again: Revival of a Sixties Anti-Establishment Classic,” 37.4, 4-9

The Spark: “Blue Collar—Detroit Moviegoers Have Their Say,” 8:4, 30-31

Squyres, Tim: “The Art and Craft of Film Editing: A Critical Symposium,” 34:2, 54-64

Stadler, Harald: “Festivals: Munich,” 16:1-2, 75 & 91

Staffordshire—Georgakas, Trixie & Lulu Lucia: “A Couple of Furry Black and White Pets Sitting Around & Talking About Babe,” 22:2, 11-19

Stam, Robert: “Contribution to Sign and Countersign: Raymond Durgnat Responds to His Critics,” 10:4, 13-15

—————: “Festivals: The Carthage Film Festival,” 21:3, 56-57

—————: “Rewriting 1492: Cinema and the Columbus Debate,” 19:4, 66-71

Stanfield, Peter: Contribution to “Cult Cinema: A Critical Symposium,” 34.1, 49-50

Steele, Robert: “AFI, Cinema, Egg Salad and Omelets,” 1:3, 5-8 & 28

Stein, Ruthe B.: “The Youth Phenomenon in Films,” 3:2, 13-16 & 35

—————: “UpTight,” 2:4, 2-3 & 34

Stern, Gary M.: “Why the Dearth of Latino Directors?” 19:2-3, 45-47

Sterritt, David:  “Beats, Beatniks, and Beat Movies,” 39.1, 26–29

—————: “Confounding the Plausibles: Louis Feuillade’s Epic Crime Serials,” 38.2, 25-29

—————: “Film Criticism in America Today: A Critical Symposium,” 26:1, 42-43

—————: “From the Curved Screen to the Flat Screen: Cinerama Adventures Galore!,” 39.3, 36–39

—————: “John Cassavetes: A Filmmaker Under the Influence,” 30.4, 32-35

—————: “New Lives on DVD for Nontheatrical Films,” 35.3, 22-27

Sterritt, David & Lucille Rhodes: “Monty Python: Lust for Glory,” 26:4, 18-23

Stone, Oliver: “Who Defines History? Address to the National Press Club,” 19:1, 23-24

Stoneman, Rod: “Irish Cinema at the Crossroads: A Filmmakers’ Symposium,” 24:2-3, 73

Strout, Andrea: “To Florence, with Love: The Florence Film Festival of American Independent Cinema,” 9:4, 39-41

Sugarman, Sara: “British Cinema Questionnaire,” 26:4, 66

Suid, Lawrence: “Apocalypse Now—Francis Ford Coppola Stages His Own Vietnam War,” 8:3, 32-33 & 61

Sullivan, Jack: “Psycho: The Music of Terror,” 32:1, 20-28

Summers, Bob: “Challenge for Change,” 3:4, 16-18

Sunness, Sheldon: “Popularizing the Political Documentary: The Films of John de Graaf,” 13:3, 25-26

Supanick, Jim: “Come, fly like a winged horse: Ritwik Ghatak’s Ajantrikor The Pathetic Fallacy,” 23:1, 34-35.

Sweet, Timothy: Contribution to “What Historians Think About Spielberg’s Lincoln, 38.2, 13-19

Talbot, Daniel: “Fact and Fantasy in the Making of Point of Order,” 31:3, 18-20

Talbot, Dave & Barbara Zheutlin: “Albert Maltz: Portrait of a Hollywood Dissident,” 8:3, 2-15 & 59

Tarr, Carrie: “Beur is Beautiful: Contemporary French-Maghrebi,” 33:1, 31-37 (A Special Supplement)

Tashiro, Charles: “Passing for the Past: Production Design and the Historical Film,” 29.2, 40-44.

Tate, Greg: “Bamboozled: White Supremacy and a Black Way of Being Human,” a contribution to “Race, Media and Money: A Critical Symposium on Spike Lee’s Bamboozled,” 26:2, 15-16

Taubin, Amy: Contribution to “Rethinking Television: A Critical Symposium on the New Age of Episodic Narrative Storytelling,” 39.4, 26–38

Taylor, Clyde: “The Colonialist Subtext in Platoon,” a contribution to “Platoon on Inspection: A Critical Symposium,” 15:4, 4-11

Tellefsen, Christopher: “The Art and Craft of Film Editing: A Critical Symposium,” 34:2, 54-64

Thompson, Cliff: "Good Moments in a Tough World: The Films of Charles Burnett,” 33:2, 32-34

 —————: “St. Clair Bourne: Documenting the African-American Experience,” 26:3, 34-35

—————: “The Brother From Another Race: Black Characters in the Films of John Sayles,” 22:3, 32-33

—————:“The Devil Beats His Wife: Small Moments and Big Statements in the Films of Charles Burnett,” 23:2, 24-27

—————: “We Hardly Knew Ye: Four Early Films of Paul Robeson,” 23:4, 24-25

Tiana (Thi Thenh Nga): “The Long March: From Wong to Woo: Asians In Hollywood,” 21:4, 38-40

Tichenor, Dylan: “The Art and Craft of Film Editing: A Critical Symposium,” 34:2, 54-64

Tomaselli, Keyan: “Racism in South African Cinema,” 13:1,12-15

—————: “The Cinema in South Africa Today,” 15:2, 13-15

Tomaszewski, Igor: “Festivals: Gdansk Festival of Polish Films,” 17:4, 54-55 & 64

Toplin, Robert Brent: “Cinematic History: An Anatomy of the Genre,” 29:2, 34-39

Trainor, Katie: Contribution to “Film Preservation: A Critical Symposium,” 36.4, 48-49

Tracy, Andrew: Contribution to “Film Criticism: The Next Generation,” 38.2, 35-40

Travers, Peter: “Film Criticism in America Today: A Critical Symposium,” 26:1, 43-44

Trifonova, Temenuga: “Stoned on Mars: Home and National Identity in Recent Bulgarian Cinema,” 32:3, 32-36

Trumbo, Dalton: “Report on Spartacus,” 18:3, 30-33

Tsao, Leonardo Garcia: “International Film Criticism Today: A Critical Symposium,” 31:1, 39-40

Turan, Kenneth: “Film Criticism in America Today: A Critical Symposium,” 26:1, 44

Union of Arab Jews: “We Are All Arab Jews in Israel,” 10:1, 35

Usai, Paolo Cherchi: Contribution to “Film Preservation: A Critical Symposium,” 36.4, 42-43

Vera, Noel: “International Film Criticism Today: A Critical Symposium,” 31:1, 40

Vick, Tom: “Contribution to Repertory Film Programming: A Critical Symposium,” 35.2, 38-53

Vineberg, Steve: “Acting in the Cinema,” 31:4, 62-63

Vogel, Amos: “Subversive Film Festival,” 19:4, 89-91

Vojkovic, Sasa: “Factum Documentary Films: Searching for the Present,” 32:3, 41-44

Wagner, Daniel: Contribution to “Film Preservation: A Critical Symposium,” 36.4, 49-50

Wajda, Andrzej: “Andrzej Wajda’s Censored Speech,” 13:3, 12-13

Wald, Malvin: “Who Is the Film Author?,” 2:3, 11-12

Walsh, David: “The Political Documentary in America Today,” 30:3, 30

Waugh, Thomas: “Men Cannot Act in Front of the Camera in the Presence of Death: Joris Ivens’s The Spanish Earth,” Part 1, 12:2, 30-31; Part II, 12:3, 21-29

Webb, Kate: “Bill Douglas Among the Philistines: From the Trilogy to Comrades,” 37.3, 28-32

Weigl, Bruce: “Stone Incountry: A Platoon of the Mind,” a contribution to “Platoon on Inspection: A Critical Symposium,” 15:4, 4-11

Weis, Elisabeth: “Sync Tanks: The Art and Technique of Postproduction Sound,” 21:1-2, 56-61

Weiss, Andrea: “From the Margins: New Images of Gays in the Cinema,” 15:1, 4-8

Wertham, Fredric, M.D.: “Is So Much Violence in Films Necessary?” 2:1, 4-6 & 36

Weschler, Lawrence: “Poland’s Banned Films,” 13:3, 11-12

West, Dennis: A Film School for the Third World,” 15:3, 37 & 57

—————: “Contemporary Spanish Cinema: A Guide to Resources,” 29:1, 65-66

—————: “Festivals: Hispanic Film Festivals,” 17:2, 29

—————: “Festivals: San Juan Film Festival,” 17:1, 40-41 & 25

—————: “In the Footsteps of Tomás Gutiérrez Alea,” 35.2, 18-25

—————: “Karlovy Vary, Take 34,” 25:1, 38 & 61

—————: “Karlovy Vary: Take 38,” 29.1, 88-89

—————: “Mannheim-Heidelberg: A Festival of Newcomers,” 29:2, 72, 93

—————: “Mar del Plata Film Festival,” 29:3, 67

—————: “Osian’s-Cinefan Festival of Asian Cinema,” 31:1, 84

—————: “Revolution in Central America: A Survey of New Documentaries,” 14:3, 14-21

—————: “Revolution in Central America: A Survey of Recent Documentaries,” 12:1, 18-23

—————: “The Buenos Aires Festival and the Renaissance of Argentine Cinema,” 27:1, 50-51

—————: “The Buenos Aires Film Festival,” 30:4, 76

—————: “The Gijón Film Festival,” 33:2, 81-83

—————: “The Karlovy Vary Film Festival,” 31:1, 83

—————: “The Karlovy Vary Film Festival,” 32:4, 75-76

—————: “The Karlovy Vary Film Festival,” 32:1, 83-84

—————: “The Valladolid International Film Festival,” 30:2, 74-76

—————: “Tröia is Far from Hollywood,” 25:4, 53

West, Joan M.: “Francocinephile Video Blues,” 24:4, 48-49

Wexman, Virginia Wright: “Acting in the Cinema,” 31:4, 63

White, Armond: Post-Art Minstrelsy,” a contribution to “Race, Media and Money: A Critical Symposium on Spike Lee’s Bamboozled,” 26:2, 12-14

—————:“Film Criticism in America Today: A Critical Symposium,” 26:1, 44-45

Wilkerson, Travis: Contribution to “The Prospects for Political Cinema Today:” A Critical Symposium,” 37.1, 6-17

Willner, Karen Merced: “Bromance of the Old West: American Culture and the Evolving Cinematic Relationship of Wyatt Earp and Doc Holliday,” 37.3, 4-9

Williams, John: Daughters of the Diaspora: “A Filmography of Sixty-Five Black Women Independent Film- and Video-Makers,” 20:3, 41-42

—————: “Re-Creating Their Media Image: Two Generations of Black Women Filmmakers,” 20:3, 38-42

Williams, Linda: “Cinema and the Sex Act,” 27:1, 20-25

Willimon, Beau: Contribution to “Rethinking Television: A Critical Symposium on the New Age of Episodic Narrative Storytelling,” 39.4, 26–38

Wilson, Michael: “Lawrence of Arabia: Elements and Facets of the Theme,” 21:4, 30-32

Women’s Workshop/Utrecht Conference: “Manifesto for a Non-Sexist Cinema,” 8:4, 51

Wood, Jennifer A.: “Make Way for Blu-ray,” 35.3, 32-35

Worthy, Kim: “Hearts Of Darkness: Making Art, Making History, Making Money, Making Vietnam,” 19:2-3, 24-27

Yi, Esther: “Wolf on the Loose: The Physicality of Toshiro Mifune in the Films of Akira Kurosawa,” 39.4, 10–14

Youdelman, Jeffrey: “Narration, Invention & History: A Documentary Dilemma,” 12:2, 8-15

Young, Deborah & Sergio di Giorgi: “The Dream of a New Sicilian Cinema,” 23:1, 20-23

Young, John Keone: “What is MGM Doing in South Africa, or Who’s Really Getting the Shaft,” 5:3, 67

Yurick, Sol: “Apocalypse Now: Capital Flow,” 10:1, 21-23

Zavattini, Cesare: “The New Free Newsreels,” 3:2, 17 & 35

Zeoli, Nicholas J.: “Tape Recording Guide,” 1:4, 21-22 & 33

—————: “Technical Notes,” 1:2, 12-13

—————: “The Short Film,” 1:3, 22 & 29

Zevin, Alexander: “Marie Antoinette and the Ghosts of the French Revolution,” 32:2, 32-35

Zheutlin, Barbara and Talbot, Dave: “Albert Maltz: Portrait of a Hollywood Dissident,” 8:3, 2-15 & 59

Zimmerman, Debra: “The Political Documentary in America Today,” 30.3, 33-34.

Ziv, Han: “The Israeli Cinema and the National Question: The Primal Sin,” 9:3, 36-37 & 40

Zook, Douglas-Paul: “Film in Boston: Help!” 2:4, 9

Zucker, Carole: “Love Hurts: Performance in Elia Kazan’s Splendor in the Grass,” 31:4, 18-23

 

 

INTERVIEWS

Abbott, Jennifer: “The Life and Times of the Corporation,” by Dennis West and Joan M. West, 30:1, 28-33

Abraham, F. Murray: “ ‘F’ is for Farid,” by David Copelin, 17:1, supp. 14-16.

Abu-Assad, Hany: “This is a Film You Should See Twice,” by Dan Georgakas and Barbara Saltz, 31.1, 16-19

Al Mansour, Haifaa: “A Woman’s Voice Is Her Nakedness,” Maria Garcia, 38.4, 34-37

Alea, Tomás Gutiérrez: “Individual Fulfillment and Collective Achievement,” by Julianne Burton, 8:1, 8-15 & 59

Alea, Tomás Gutiérrez & Juan Carlos Tabío: “Strawberry and Chocolate, Ice Cream and Tolerance,” by Dennis West, 21:1-2, 16-20

Alea, Tomás Gutiérrez & Mirta Ibarra: “Up to a Point,” by Gary Crowdus, 14:2, 26-29

Alexie, Sherman: “Sending Cinematic Smoke Signals,” by Joan M. West & Dennis West, 23:4, 28-31 & 37

Allen, Joan: “The Star is the Story,” by Cynthia Lucia, 31:4, 24-32

Allen, Woody: “Status and Morality in Cassandra's Dream,” by Cynthia Lucia, 33:2, 40-43

Alonso, Lisandro: “Cinema Beyond Words,” by Dennis West and Joan M. West, 36.2, 30-38

Altman, Robert: “The Player,” by Janice Richolson, 19:2-3, 61

Altman, Robert, see Freed, Donald

Alvarez, Santiago: “5 Frames are 5 Frames, Not 6, but 5,” by Rodi Broullon, Gary Crowdus & Allan Francovich, 6:4, 16-21

Amaral, Suzana: “The Hour of the Star,” by Dennis West, 15:4, 45

Amelio, Gianni: “Beyond Neorealism: Preserving a Cinema of Social Conscience,” by Gary Crowdus & Richard Porton, 21:4, 6-13

—————: “Lack of Historical Memory,” by Gary Crowdus, 28:3, 14-18.

Amenta, Marco: “Fighting the Mafia through the Cinema,”by Diana Wade, 36.1, 4-9

Anderson, Lindsay: “Revolution Is the Opium of the Intellectuals,” by E. Rampell, 12:4, 36-37

Anderson, Paul Thomas: “Beware the Golden Fang!,” Pierre Sauvage, 40.2, 18–22

Andersson, Roy: “Creating Complex Images,” Richard Porton, 40.4, 22–25

Angelopoulos, Theodoros: “National Culture and Individual Vision,” by Andrew Horton, with an introduction by Dan Georgakas, 19:2-3, 28-31

Arcand, Denys: “Decline of the American Empire,” by Robert Sklar, 15:2, 48-50

—————: “Of Warm and Sunny Tragedies,” by Robert Sklar, 18:1, 14-16

Aristarain, Adolfo: “Time for Revenge,” by Annette Insdorf, 13:1, 16-17

Arrabal, Fernando: “The Future of the Cinema Belongs to Poets,” by Peter Brunette & Gerald Peary, 7:2, 22-25

Askoldov, Alexander: “The Uncompromised Commissar,” by Alexander Batchan, 17:1, 9-11

Asner, Ed: “Acting and Activism in Hollywood,” by Gary Crowdus & Dan Georgakas, 14:1, 6-11

Assayas, Olivier: “Making a Connection Between the Cinema, Politics and Real Life,” by Steve Erickson, 22:4, 6-9

—————: “Demystifying Carlos,” by Richard Porton, 36.1, 16-22

—————: “Portrait of the Artist as a Young Radical,” Richard Porton, 38.2, 8-12

Attile, Martina & Isaac Julien: “The Passion of Remembrance,” by Lynne Jackson & Jean Rasenberger, 16:4, 23

Ayouch, Nabil: “Becoming a Suicide Bomber,” Dennis West and Joan M. West, 39.4, 42–45

Babenco, Hector: “At Play in the Fields of the Lord,” by Neil Okrent, 19:1, 44-47

Bacso, Peter: “Politicians Have No Sense of Humor,” by Gary Crowdus & Lenny Rubenstein, 11:4, 48-49

Badham, John: “Lost in the Hustle,” by Eric Breitbart. 9:2, 2-5 & 57

Bagh, Peter von: “Utopian Festivals and Cinephilic Dreams,” Richard Porton, 37.2, 40-43

Bagwell, Orlando: “Matters of Race,” by Barbara Abrash, 30:1, 34-35

Bahrani, Ramin: “A Sense of Place,” by Richard Porton, 33:3, 44-48

Bakri, Mohammad: “Upholding the Palestinian Image in Israeli Cinema,” by Ginger Assadi, 29:4, 41-43

Baldwin, Craig: “Talk About a Combustible Mix,” by Christopher Carley, 34:1, 20-24

Ball, Alan: “Sexual Politics and Awakenings in Towelhead,” by Cynthia Lucia, 33:4, 14-19

Barbash, Uri: “Beyond the Walls,” by Ronnie Margulies, 14:3, 22-24

Bardot, Brigitte: “Society of the Spectacle: An Interview with Brigitte Bardot,” by Ron Hunt & Chris MacConway, 4:4, 18 & 35

Barmak, Siddiq: “Emerging from the Taliban’s Grim Legacy,” by A.G. Basoli, 29:3, 38-41

Baumbach, Noah: “Divorce Brooklyn Style,” by Leonard Quart, 31:1, 27-29

Baye, Nathalie: “The Joys of Collaboration,” by Richard Porton, 31:3, 13-17

Béart, Emmanuelle: “Acting as the Joy of Discovery,” by Richard Porton, 29:1, 15-17

Becker, Peter: “Providing a Film Archive for the Home Viewer,” by Gary Crowdus, 25:1, 47-50

Bellocchio, Marco: “China Is Near: An Interview with Marco Bellocchio,” by Frederic Tuten, 4:1, 24-25

Bemburg, Marie-Luisa: “Love as a Revolutionary Act,” by Karen Jaehne, 14:3, 22-24

Benioff, David: “Doyle’s Law,” by Paula J. Massood, 28:3, 8-10

Benson, Michael: “Art, History and Politics in the Former Yugoslavia,” by Louis Menashe & Jasminka Udovicki, 22:2, 30-33

Beresford, Bruce: “An Aussie in Hollywood,” by Gary Crowdus & Udayan Gupta, 12:4, 20-25

Bergenstrahle, Johan: “An Interview with Johan Bergenstrahle,” by Gerald Peary, 5:2, 21-23

Berger, John: “The Screenwriter as Collaborator,” by Richard Appignanesi, 10:3, 14-19

Berger, Pamela: “Sorceress,” by Lynn Jackson, 16:4, 45

Berlinger, Joe: “Out of the Jungle and Into the Fire,” by Dan Lybarger, 34:4, 30-36

Berlinger, Joe & Bruce Sinofsky: “Cinéma Vérité, Nineties Style,” by Dennis West & Joan M. West, 22:3, 21-23

—————: “Redefining the Esthetics of the Documentary,” by Cynthia Lucia & Richard Porton, 19:4, 82-85

Bernstein, Walter: “The Language of Film and the Grammar of Politics,” by Pat Aufderheide, 15:3, 30-33

Bertolucci, Bernardo: “A Conversation with Bernardo Bertolucci,” by Joan Mellen, 5:4, 21-24

—————: “Luna and the Critics,” by Gary Crowdus & Dan Georgakas, 10:1, 27-29

—————: “The Poetry of Class Struggle,” by Fabio di Vico and Roberto Degni, 7:4, 6-9 & 50

—————: “Red Flags and American Dollars,” by Giovanna di Bernardo, 7:4, 2-5

—————: “Returning to My Low-Budget Roots,” by Bruce Sklarew, 24:4, 16-19

Bertucelli, Jean-Louis: “Ramparts of Clay: An Interview with Jean-Louis Bertucelli,” by Lita Paniagua, William Starr & Gary Crowdus, 4:4, 1-3

Bird, Stewart: “Home Free All,” by Dan Georgakas. 13:3, 43-44

Bird, Stewart & Shaffer, Deborah: “The Wobblies: The Making of a Historical Documentary,” by Dan Georgakas, 10:2, 14-19 & 58

Blake, Grace: “Integrating the Film Industry’s Craft Unions,” by Jesse Rhines, 20:4, 30-31

Blanchett, Cate: “Trusting the Text: An Interview with Cate Blanchett,” by Richard Porton, 32:2,16-19

Bloom, John (aka Joe Bob Briggs): “Cult Films, Commentary Tracks, and Censorious Critics,” by Gary Crowdus, 28:3, 32-34

—————: “The Master of Laugh-Out-Loud Film Criticism,” by Gary Alan Crowdus, 16:4, 38-43

Boorman, John: “Moments of Transcendence,” Declan McGrath, 40.2, 30–36

Borden, Lizzie: “Labor Relations,” by Lynn Jackson, 15:3, 4-9

—————: “Redefining Female Sexuality in the Cinema,” by Cynthia Lucia, 19:2-3, 6-10

Bortnik, Aída: “The Official Story,” by Danusia L. Meson, 14:4, 30-35

Bourguignon, Serge: “Painting Images on Screen,” Gary Crowdus, 40.1, 26–32

Bourne, St. Clair: “Showing Complexity in Documentary Portraits,” by Clifford Thompson, 26:3, 36-37

Bradbury, David: “Chile: Hasta Cuando?,” by Susan Ryan, 16:1-2, 76-77

Branagh, Kenneth: “Sharing an Enthusiasm for Shakespeare,” by Gary Crowdus, 24:1, 34-41

Breillat, Catherine: “A Woman’s Vision of Shame and Desire,” by Robert Sklar, 25:1, 24-26

—————: “Rewriting Fairy Tales, Revisiting Female Identity,” by Maria Garcia, 36.3, 32-35

Breitbart, Eric: “Film and History: Questions to Filmmakers and Historians,” 29:2, 55-56

Brook, Peter: “Shakespeare in the Cinema: A Film Directors’ Symposium,” by Gary Crowdus, 24:1, 48-55

Brooks, Sue: “Feminist Filmmaking without Vanity or Sentimentality,” by Lorena Cancela, 29:2, 18-21

Brownlow, Kevin: “Film and History: Questions to Filmmakers and Historians,” 29:2, 61

—————: “Winstanley and the Historical Film,” by Lenny Rubenstein, 10:4, 22-25

Buckner, Noel, Mary Dore & Sam Sills: “The Good Fight,” by Gary Crowdus & Dan Georgakas, 13:4, 20-25

Burnat, Emad, and Guy Davidi: “5 Broken Cameras,” by Salomon Rogberg, 37.3, 24-27

Bumstead, Henry: “The World of Hollywood Art Design,” by Andrew Horton, 26:3, 18-22

Büttner, Tilman: “Filming Sokurov’s Russian Ark,” by Louis Menashe, 28:3, 21-23

Caine, Michael: “The Character Actor as Movie Star,” by Richard Porton, 29:2, 4-7

Campobasso, Craig:”The Art of Casting,” by Donald R. D’Aries and Foster Hirsch, 31:4, 56-59

Canby, Vincent: “The Power of The Times Critic,” by Gary Crowdus & Dan Georgakas, 10:2, 2-9

Cantet, Laurent: “Alienated Labor,” by Richard Porton and Lee Ellickson, 27:2, 24-27

Carbajosa, Chumilla: “Spanish Filmmakers Forum,” by Dennis West and Joan M. West, 29:1, 62

Carion, Christian: “The Farewell Affair,” by Gary Crowdus, 35.4, 26-31

Carrière, Jean-Claude: “The Power to Imagine,” by Jason Weiss, 13:1, 6-11

Cecchi d’Amico, Suso: “Screenwriting with Your Eyes,” by A.G. Basoli, 27:4, 24-32

Cedar, Joseph: “Fathers and Sons,” Leonard Quart, 37.2, 15-17

—————: “The Human Cost of Ideology,” by Robert Sklar, 27:1, 26-29

—————: “Surviving a Futile War,” by Leonard Quart, 33:2, 27-31

Chaplin, Charles: “Are You Now, or Have You Ever Been...?,” by Charles Maland, 14:4, 10-15

Chéreau, Patrice: “Elusive Intimacy,” by Richard Porton, 27:1, 16-19

Cholodenko, Lisa: “Gay Family Values,” by Cynthia Lucia and Richard Porton, 35.4, 14-18

Choy, Christine, Worth Long & Allen Siegel: “Mississippi Triangle,” by Erick Dittus, 14:2, 38-40

Christie, Julie: “Seeking Connections,” By Karen Jaehne, 15:2, 4-7

Cine Manifest: “Towards the Socially Conscious Entertainment Film,” by Tom Broni, 6:3, 12-15

Coates, Anne V.: “The Editing of Lawrence of Arabia,” by Gary Crowdus, 34:2, 48-53

Cohen, Eli: “Ricochets,” by Rob Edelman, 16:3, 43

Condon, Bill: “Sex, Science, and the Biopic: An Interview with Bill Condon,” by Roy Grundmann, Roy, 30:2, 11

Cooper, Chris and David Strathairn: “Working with John Sayles,” by Dan Georgakas, 33:2, 20-21

Corrieri, Sergio: “Memories of Underdevelopment: Thirty Years Later,” by Paul B. Miller, 25:1, 20-23

Costa–Gavras: “A Film Is Like a Match—You Can Make a Big Fire or Nothing at All,” Harold Kalishman & Gary Crowdus, 6:1, 2-7

—————: “Costa–Gavras Talks about Z,” by Gary Crowdus & Dan Georgakas, 3:3, 12-16

—————: “Film and History: Questions to Filmmakers and Historians,” 29:2, 61-62

—————: “Filming the Story of a Spy from God,” by Gary Crowdus and Dan Georgakas, 28:3, 14-20

 —————: “Keeping Alive the Memory of the Holocaust,” by Gary Crowdus,” 17:3, 4-7

—————: “Money Changes Everything,” Gary Crowdus, 39.1, 38–45

—————: “The Missing Dossier,” by Gary Crowdus, 12:1, 30 & 31-33 & 35

—————: “There’s Always a Point of View,” by Dan Georgakas, 16:4, 18-21

Cousins, Mark: “The (Cinematic) Gospel According to Mark,” Declan McGrath, 38.2, 30-34

Cox, Alex: “Flipped Out in Nicaragua,” by Coco Fusco, 16:3, 12-16

Craven, Wes: “Interview on Elm Street,” by Michael Banka, 17:3, 22-25

Cronenberg, David: “Filming Dangerously,” Richard Porton, 37.1, 18-22

—————: Cronenberg, David: “The Film Director as Philosopher,” by Richard Porton, 24:4, 4-9

—————: “The Primal Energies of Horror Film,” by George Hickenlooper, 17:2, 4-7

Cuarón, Alfonso: “Sexual Awakenings and Stark Social Realities,” by A.G. Basoli, 27:3, 26-29

Dabis, Cherien: “Coming to Amreeka,” by Dennis West and Joan M. West, 35.1, 22-26

Dafoe, Willem, “The Great Pretender,” by Gary Crowdus and Richard Porton, 31:4, 40-47

Dardenne, Jean-Pierre and Dardenne, Luc: “Taking the Measure of Human Relationships,” by Joan M. West and Dennis West., 28:3, 14-17

—————: “The Terrible Lightness of Social Marginality,” by Robert Sklar, 31:2, 19-21

Dassin, Jules: “A Dream of Passion,” by Dan Georgakas & Petros Anastasopoulos. 9:1, 20-24

Davies, Terence: “The Long Day Closes,” by Wheeler Winston Dixon, 19:2-3, 20-23

Davis, Dave: Contributor to “The Art and Politics of the Documentary: A Symposium,” 11:3, 12-21

de Antonio, Emile: “Contributor to The Art and Politics of the Documentary: A Symposium,” 11:3, 12-21

—————: “History Is the Theme of All My Films,” by Gary Crowdus & Dan Georgakas, 12:2, 20-28

de Laurot, Yves: “From Logos to Lens: From the Theory of Engagement to the Praxis of Revolutionary Cinema,” 4:1, 10-23

—————: “Yves de Laurot Defines Cinema Engage,” 4:1, 10-23

Deitch, Donna: “Desert Hearts,” by Pat Aufderheide,” 15:1, 18-19

De la Iglesia, Álex: “Spanish Filmmakers Forum,” by Dennis West and Joan M. West, 29:1, 63

Del Toro, Guillermo: “What is a Ghost?” by Kimberly Chun, 27:2, 28-31

Denis, Claire: “Moving Toward the Unknown Other,” by Megan Ratner, 36.1, 36-40

De Oliveira, Manoel: “An Ethical Cinema,” by Jared Rapfogel, 33:3, 18-21

De Palma, Brian: “Outside the Green Zone,” by Robert Cashill, 33:1, 6-12

Depp, Johnny: “The Actor as Iconoclast,” Antoine de Baecque, 37.2, 30-35

Dershowitz, Alan: “Revisionist of Fortune,” by Halan Jacobson, 18:2, 8-11

Desplechin, Arnaud: “One Idea Every Fifteen Seconds,” by Jared Rapfogel, 30:2, 31-37

—————: “It’s Time for Truffaut,” Dudley Andrew and Anne Gillain, 38.1, 4-10

Diamand, Frank: “The New Right’s Quest for Power,” by Susan Linfield, 13:1, 20-21

Dìaz Torres, Daniel: “Alice in a Cuban Wonderland,” by Dennis West, 20:1, 24-27

Dìaz, Jesus: “Parting of the Ways,” by Dan Georgakas & Gary Crowdus, 15:4, 22

Dick, Kirby: “MPAA Ratings, Black Holes, and My Film: An Interview with Kirby Dick,” by Joan M. West and Dennis West, 32:1, 14-19

—————: “The Invisible War Within the Military,” Dennis West and Joan M. West, 37.4, 10-15

Dick, Kirby and Amy Ziering: “Transforming Trauma into Political Activism,” Gary Crowdus, 40.3, 44–49

Diegues, Carlos: “I Want to Make Films for Today,” by Karen Backstein, 26:1, 16-19

—————: “Choosing Between Legend and History,” by Coco Fusco, 15:1, 12-14

Dong, Arthur: “Licensed to Kill,” by Tom Doherty, 23:2, 20-23

Donnersmarck, Florian Henckel von: “Between Principle and Feeling: An Interview with Florian Henckel von Donnersmarck,” by John Esther, 32:2, 40-42

Dos Santos, Nelson Pereira: “Memories of Prison,” by Patricia Aufderheide, 14:2, 23-24

Dougherty, Marion: “Fifty Years of Casting,” by Dan Georgakas & Kevin Rabalais, 25:2, 26-31

Dumont, Bruno: “Cinema as Spiritual Affair,” Christopher Sharrett, 38.4, 29-33

Egoyan, Atom: “Family Romances,” by Richard Porton, 23:2, 8-15

—————: “The Politics of Denial,” by Richard Porton, 25:1, 39-41

Eguino, Antonio: “Neo-Realism in Bolivia,” by Udayan Gupta. 9:2, 26-29 & 59

Else, Jon: Contributor to “The Art and Politics of the Documentary: A Symposium,” 11:3,12-21

Epstein, Robert: “The Times of Harvey Milk,” by Patricia Erens, 14:3, 26-27

Espinosa, Julio Garcìa: “Reconciling Entertainment and Thought,” by Dennis West, 16:1-2, 20-26 & 89

Falk, Feliks: “Fighting the Bureaucrats and Censors,” by Lenny Rubenstein, 13:3, 9-10

Farhadi, Asghar: “Freedom and Its Discontents,” Rahul Hamid, 37.1, 40-42

Farr, Raye: “The World at War: Film Researcher,” by Alan Rosenthal. 9:2, 16-21

Fassbinder, R.W.: “I Let the Audience Feel and Think,” by Norbert Sparrow,” 8:2, 20-21

Feltenstein, George: “MOD Man,” Robert Cashill, 37.1, 28-29

Féret, René: “Mozart’s Sister: Genius Denied,” Maria Garcia, 37.1, 30-33

Ferguson, Charles: “No End in Sight: An Interview with Charles Ferguson,” by Gary Alan Crowdus, 32:4, 18-19

—————: “First Thing We Do, Let’s Jail All the Wall Street Bankers!” by Gary Crowdus, 36.1, 41-45

Ferretti, Dante and Francesca Lo Schiavo: “Designing and Dressing Imagined Worlds,” Maria Garcia, 39.1, 30–34

Field, Connie & Marilyn Mulford: “Progress and Misgivings in Mississippi,” 21:1-2, 43-45

Field, Connie: Contributor to “The Art and Politics of the Documentary: A Symposium,” 11:3,12-21

Fiennes, Ralph: “Shakespeare’s Perennial Political Thriller,” Gary Crowdus and Richard Porton, 37.2, 18-23

Florio, Maria & Victoria Mudd: “Broken Rainbow,” by Robert Strauss, 15:2, 34-36

Fofi, Goffredo: “Ombre Rosse: Developing a Radical Critique of the Cinema in Italy,” by Joan Mellen, 5:3, 49-52

Folman, Ari: “Waltz with Bashir,” by John Esther, 34:2, 67

Fonda, Jane: “I Prefer Films That Strengthen People,” by Dan Georgakas & Lenny Rubenstein, 6:4, 2-9

Forman, Milos: “Porn Again: The People vs. Larry Flynt,” by Richard Porton, 22:4, 28-32

Frears, Stephen: “The Complexities of Cultural Change,” by Cynthia Lucia, 28.4, 8-15.

Freed, Donald & Robert Altman: “Secret Honor,” by Pat Aufderheide, 14:2, 13-14

Friedkin, William: “Back to the Boys,” Matthew Hays, 40.4, 13–15

Fry, Stephen: “The Actor as Critic,” by Richard Porton, 23:4, 8-12

Gabor, Pal: “Angi Vera: A Conversation with Pal Gabor,” 10:2, 32-33

Ganatra, Nisha: “Dishing Up Comedy Spiced with Chutney,” by Dennis West & Joan M. West, 26:2, 38-40

Garnett, Tony, see Loach, Ken

Garrone, Matteo: “Inside ‘The System’,” by Richard Porton, 34:2, 12-15

George, Terry: “The Troubles He’s Seen in Northern Ireland,” by Gary Crowdus & O’Mara Leary, 23:1, 24-29.

Ghobadi, Bahman: “The Cinema of a Stateless Nation,” by Rahul Hamid, 30:3, 42-45

Gibney, Alex: “Speaking Documentary Truth to Power,” by Gary Crowdus, 33:3, 28-36

Gilbert, Bruce: “Hollywood’s Progressive Producer,” by Barabara Zheutlin & Jim Richardson, 9:4, 2-9

Gilday, Katherine: “The Famine Within,” 18:4, 39-41

Gitai, Amos: “Israel Without Mythology,” by Robert Sklar, 35.4, 24-25

—————: “The Architecture of Documentary Filmmaking,” by Miriam Rosen, 17:3, 48-50

Glawogger, Michael: “‘Some Friends You Have!’,” Cynthia Lucia, 38.1, 28-38

Glover, Danny: “Acting and Activism,” by Richard Porton, 26:1, 10-15

Godzilla: “The Thunder Lizard Speaks!,” by J.J. Martin, 23:3, 24-25

Goldberg, Bernard: “In This Business You Sure Can’t Please Everybody,” by Alex Siodmak, 7:4, 26-27 & 53

Goldsmith, Rick: “The Most Dangerous Man in America,” by Dan Lybarger, 35.3, 37-40

Gomes, Miguel: “The Immortal Stories,” Aaron Cutler, 38.2, 20-24

Gordon, Robert: “Vidal versus Buckley and the End of ‘Balanced’ News,” Michael Guillén, 40.4, 36–39

Gorris, Marlene: “The Lighter Side of Feminism,” by Robert Sklar, 22:1, 26-28

Granados, Daisy, see Vega, Pastor

Graf, Dominik: “The Love of Long Ago,” Christoph Huber, 40.1, 4–8

Gray, Spalding: “The Art of Autobiography,” by Dan Georgakas & Richard Porton, 19:4, 34-37

Greaves, William: “Ralph Bunche Reconsidered,” by Freda Warren, 26:2, 35-37

Green, David Gordon: “A Touch of the Neorealist,” by Cynthia Lucia, 26:4, 13-17

Greenaway, Peter: “Cinema as the Total Art Form,” by Marcia Pally, 18:3, 6-11 & 45

—————: “The Draughtsman’s Contract,” by Karen Jaehne, 13:2, 13-15

Greene, Felix: “One Man’s China,” by Joseph Gross, 14:4, 26-28

Greenwald, Robert: “Documentary as Political Activism: An Interview with Robert Greenwald,” 32:4, 26-29

Grosbard, Ulu: “Directing the Character-Driven Drama,” by Richard Porton, 22:1, 39

Guiraudie, Alain: “Sunshine for the Scoundrels,” David Pendleton and Roy Grundmann, 39.3, 16–22

Gutiérrez, Chus: “Spanish Filmmakers Forum,” by Dennis West and Joan M. West, 29:1, 62-63

Guzmán, Patricio: “Ad Astra per Aspera,” by Haden Guest and Eduardo Ledesma, 36.3, 20-25

—————: “Film and History: Questions to Filmmakers and Historians,” 29:2, 56

—————: “The Importance of Historical Memory,” 27:3, 22-25

Hall, Sir Peter: “Shakespeare in the Cinema: A Film Directors’ Symposium,” by Gary Crowdus, 24:1, 48-55

Hammer, Lance: “Listening to Silence,” by Robert Koehler, 34:1, 8-1

Haneke, Michael: “Collective Guilt and Individual Responsibility,” by Richard Porton, 31:1, 50-51

—————: “Unsentimental Education,” by Roy Grundmann, 35.1, 8-13

—————: “The World that is Known,” by Christopher Sharrett, 28:3, 28-31

Hanig, Josh: Contributor to “The Art and Politics of the Documentary: A Symposium,” 11:3, 12-21

Hansen-Løve, Mia: “A Death in the Family,” by Richard Porton, 35.3, 10-14

Hanson, John & Judy Irola: “Northern Lights: Developing a Regional Cinema,” by Gary Crowdus, 10:1, 14-20

Harkin, Margo: “Derry Film and Video,” by Marsha Emerman, 17:2, 42

Harris, Robert: “Restoring Lawrence,” by Gary Crowdus & Alan Farrand, 17:2, 22-23

—————: “Resurrecting Spartacus,” by Gary Crowdus & Duncan Cooper, 18:3, 28-20

Hartley, Hal: “Rise of an Indie,” by John Fried, 19:4, 38-40

Haskell, Molly: “Film Criticism and Feminism,” by Gary Crowdus & Melanie Wallace, 11:3, 2-11 & 41

Hauff, Reinhard: “Stammheim,” by Peter Brunette, 16:1-2, 54-56

Hauser, Thomas: “The Missing Dossier,” by Lenny Rubenstein, 12:1, 33-34 & 38

Hawke, Ethan: “Screen Acting and the New Hollywood,” Gary Bettinson, 40.2, 4–11

———: “Screen Acting and the New Hollywood: Part 2,” Gary Bettinson, 40.3, 4–10

Heineman, Matthew: “Action Vérité Comes to Cartel Land,” Dennis West and Joan M. West, 40.4, 40–43

Haynes, Todd: “Poison at the Box Office,” by Michael Laskawy, 18:3, 38-39

—————: “The Many Faces of Bob Dylan,” by Richard Porton, 33:1, 20-23

Hazanavicius, Michel: “The Silent Treatment,” Rebecca M. Alvin, 37.2, 6-9

Heddle, James: “Strategic Trust: The Making of Nuclear Free Palau,” by E. Rampell, 14:2, 41-42

Heftberger, Adelheid: “Dziga Vertov’s Revolutionary Cinema,” Ela Bittencourt, 38.4, 20-23

Hellman, Monte: “Road to Creativity and Candor,” by Robert Sklar, 37.3, 10-16

Henry, Buck: “From Words to Images,” by Dan Georgakas, 27:1, 4-10

Herzog, Werner: “The Wrath of Klaus Kinski,” by A.G. Basoli, 24:4, 32-35

Hetherington, Tim & Sebastian Junger: “From the Valley of Fire,” by Dan Lybarger, 35.4, 38-41

Hidari, Sachiko: “Feminism in the Japanese Cinema,” by Ruth McCormick & Bill Thompson. 9:3, 26-29

Hinton, Carma: “The Long Bow Films,” by Norma Wang, 14:4, 36-38

Hirszman, Leon: “Recovering Popular Emotion,” by Randal Johnson & Robert Stam, 13:2, 20-23 & 58

Hoback, Cullen: “Big Brother’s Terms and Conditions Do Apply,” Dennis West and Joan M. West, 38.4, 38-44

Hoberman, J.: “A Vulgar Modernist,” by Mariam Niroumand, 19:1, 53-55

Hobsbawm, Eric: “Film and History: Questions to Filmmakers and Historians,” 29:2, 66

Holland, Agnieszka: “A Woman Alone,” Ela Bittencourt, 39.3, 45–49

—————: “Lessons from the Past,” by Peter Brunette, 15:1, 15-17

Hood, Gavin: “Violence and Redemption,” by David Archibald, 31:2, 44-47

Houston, Dianne: “The Mouse That Roared,” by Shari L. Carpenter, 23:1, 39-40

Hsiao-hsien, Hou: “Preparing to Live in the Present,” by Lee Ellickson, 27:4, 13-19

Hubbard, Jim: “Encouraging the Experimental,” by Roy Grundmann, 19:1, 51

Hudlin, Reginald & Warrington Hudlin: “Tearing the Roof Off the Sucker,” by Michael Kantor, 18:1, 22-23

Hui, Anne: “Boat People,” by Karen Jaehne, 13:2, 16-19

Humphries, Steve: “Film and History: Questions to Filmmakers and Historians,” 29:2, 57

Hung, Tran Anh: “Portraying the Rhythm of the Vietnamese Soul,” by Alice Cross, 20:3, 35-37

—————: “The Politics of Pure Emotion,” by Robert Sklar, 26:4, 69-70

Hurwitz, Leo: “Native Land,” by Michael & Jill Klein, 6:3, 2-7

Hutshing, Joe Julie Monroe & Wylie Stateman: “Cutting Remarks on W.” by Gabriella Oldham, 34:2, 33-37

Hyndman, Dave: “Belfast Independent Video,” by Marsha Emerman, 17:2, 42

INCINE Filmmakers: “Film and Revolution in Nicaragua,” by Howard Dratch & Barbara Margolis, 15:3, 27-29

Ivens, Joris: “Fifty Years of Political Filmmaking,” by Deborah Shaffer, 14:1, 12-15 &21

Jacquot, Benôit: “A Child of the New Wave,” by Peter Brunette & Gerald Peary, 25:3, 23-27

James, Steve & Cobe Williams: “Interrupting Violence,” by Dennis West and Joan M. West, 36.4, 20-25

Janda, Krystyna: “Woman of Marble,” by Michael Szporer, 18:3, 12-16

Jarecki, Eugene: “Why We Fight,” by Gary Crowdus, 31:2, 32-38

Jarman, Derek: “History and the Gay Viewfinder,” by Roy Grundmann, 18:4, 24-27

Jarmusch, Jim: “A Gun Up Your Ass,” by Jonathan Rosenbaum, 22:2, 20 23

Jarrico, Paul: “A True-Blue Red in Hollywood,” by Patrick McGilligan, 23:2, 32-39

Jarvik, Laurence: “Who Shall Live and Who Shall Die?,” by Lenny Rubenstein, 12:4, 52-53

Jordan, Neil: “Life Among the Undead,” Declan McGrath, 38.4, 10-14

 —————: “Trying to Take the Gun Out of Irish Politics,” by Séamas McSwiney, 22:4, 20-23

Josephson, Erland and Liv Ullmann: “A Staged Happening,” by Kevin Lewis, 30:3, 56-57

Julien, Isaac: “Black Nationhood and the Rest in the West,” by Roy Grundmann, 21:1-2, 28-31

Julien, Isaac, see Attile, Martina

Junger, Sebastian and Tim Hetherington: “From the Valley of Fire,” by Dan Lybarger, 35.4, 38-41

Kael, Pauline: “I Still Love Going to the Movies,” by Leonard Quart, 25:2, 8-13

Kaige, Chen: “Changing the Face of Chinese Cinema,” by Richard James Havis, 29:1, 8-11

Karmitz, Marin: “A Life in the Cinema,” Gary Crowdus and Richard Porton, 39.4, 16–21

—————: “Towards a Proletarian Cinema: An Interview with Marin Karmitz,” by Gary Crowdus & Irwin Silber, 4:2, 21-25

Karnad, Girish: “New Visions in Indian Cinema,” by Udayan Gupta, 11:4, 21-23

Kartemquin Film Collective: Contributor to “The Art and Politics of Documentary: A Symposium,” 11:3, 12-21

—————: “Filming for the City,” by Julia Lesage, 7:1, 26-30

Kaufman, Avy: “The Art of Casting,” by Donald R. D’Aries and Foster Hirsch, 31:4, 56-59

Kechiche, Abdellatif: “Marivaux in the ’Hood,” by Richard Porton, 31:1, 46-49

Kempner, Aviva, see Waletzky, Josh

Kenner, Robert: “The Business of Dinner,” by Rebecca Amato and Rahul Hamid, 34:3, 38-41

Kent, Tony: “A Discussion with Tony Kent,” by Bob Summers & Gary Crowdus,” 3:4, 18-20

Khleifi, Michel: “Wedding in Galilee,” by Miriam Rosen, 16:4, 51-52

Kiarostami, Abbas: “Real Life Is More Important Than Cinema,” by Pat Aufderheide, 21:3, 31-33

—————: “The Camera of Art,” by Miriam Rosen, 19:2-3, 38-40

—————: “Certifying the Copy,” by Aaron Cutler, 36.2, 12-15

Kinoy, Peter, Tom Sigel & Pamela Yates: “When the Mountains Tremble,” by Patricia Aufderheide, 14:1, 22-23

Kitano, Takeshi: “‘Beat’ Comes to America,” by Rahul Hamid, 26:3, 32-33

Klaatu: “Special Effects Have Nothing to Do with It,” by Lenny Rubenstein, 12:3, 36-37

Klapisch, Cédric: “The Last Time He Saw Paris,” by Cynthia Lucia, 23:1, 10-14.

Klaue, Dr. Wolfgang: “What Does a Film Archivist Do Anyway?,” by Lenny Rubenstein, 7:3, 28-29

Klein, Bonnie Sherr & Linda Lee Tracey: “Not a Love Story,” by Dan Georgakas, 12:3, 6-10

Klein, James & Julia Reichert: “Seeing Red,” by Renee Shafransky, 13:2, 24-26

Klein, William: “Mister Freedom,” by Jared Rapfogel, 33:4, 24-29

Koff, David & Musindo Mwinyipenbe: “Blacks Britannica,” by Peter Pappas & Melanie Wallace, 9:4, 26-29

Kohlhaase, Wolfgang: “What Film Can and Cannot Do In Society,” by Lenny Rubenstein, 13:4, 34-35 & 53

Komarov, Sergei, see Soviet Cinema Today

Konchalovsky, Andrei, see Mikhalkov-Konchalovsky, Nikita & Andrei

Kondracki, Larysa: “Blowing the Whistle on Sex Trafficking,” by Joan M. West and Dennis West, 36.4, 10-15

Kopple, Barbara: “American Dream,” by Gary Crowdus and Richard Porton, 18:4, 37-38 & 41

Kopple, Barbara & Hart Perry: “Filming in Harlan,” by Gary Crowdus, 8:1, 22-25

Kozintsev, Grigory, see Soviet Cinema Today

Kuehl, Jerome: “The World at War: Associate Producer,” by Alan Rosenthal, 9:2, 8-15

Kunuk, Zacharias: “Storytelling in the Arctic Circle,” by Kimberly Chun, 28:3, 21-23

Kurosawa, Akira: “Making Films for All the People,” by Kyoko Kirano, 14:4, 23-25

Kusama, Karyn: “A New Combination: Women and the Boxing Film,” by Aaron Baker, 25:4, 22-26

Kyi, Daresha: “Stimulating a Dialog Among African-American Viewers,” by Jesse Rhines, 20:3, 43-44

Lawson, John Howard: “Organizing the Screen Writer’s Guild,” by Dave Davis and Neal Goldberg, 8:2, 4-11 & 58

Leconte, Patrice: “Making Friends the Hard Way: An Interview with Patrice Leconte,” by Cynthia Lucia, 32:4, 6-11

—————: “Suggestive Intimacies,” by Cynthia Lucia, 29:4, 8-13

Leduc, Paul: “Frida,” by Dennis West, 16:4, 55

Lee, Spike: “He’s Gotta Have It,” by Janice Mosier Richolson, 18:4, 12-15

—————: “Our Film Is Only a Starting Point,” by Gary Crowdus and Dan Georgakas, 19:4, 20-24

—————: “Raising Questions and Positing Possibilities,” by Leonard Quart, 22:4, 53

—————: “The Quintessential New Yorker and Global Citizen,” by Paula J. Massood, 28:3, 4-6

—————: “Thinking About the Power of Images,” by Gary Crowdus and Dan Georgakas, 26:2, 4-9

Leigh, Mike: “Being Positive,” by Leonard Quart, 33:4, 54

—————: “Entertainment and Empire,” by Richard Porton, 25:2, 34-37

—————: “Going Beyond Despair,” by Leonard Quart, 28:3, 39

—————: “I Find the Tragicomic Things in Life,” by Lee Ellickson and Richard Porton: 20:3, 10-17

—————: “Social Realist Poetry,” by Leonard Quart, 30:1, 37

—————: “The Mundane and the Sublime J. M. W. Turner,” Leonard Quart, 40.1, 34–37

Lemmon, Jack: “Spread a Little Sunshine,” by Gary Crowdus and Dan Georgakas, 14:3, 4-10

Leung, Tony Chiu Wai: “Lies and Loneliness,” 30:4, 16-17

Levitt, Alfred & Helen: “Behind the 1988 Writers Guild Strike,” by Larry Ceplair, 17:2, 24-26

Lewis, Ellen: “The Art of Casting,” by Donald R. D’Aries and Foster Hirsch, 31:4, 56-59

Lhomme, Pierre: “Passionate Cinematography,” Richard Porton and Sandy Flitterman-Lewis, 39.1, 10–15

Lilienthal, Peter: “A Passion for Social Justice,” by Annette Insdorf, 11:4, 36-38

Linklater, Richard: “Drugged and Confused,” by John Esther, 31:4, 64-65

—————: “Growing Up in America,” Dennis West and Joan M. West, 39.4, 22–25

Littin, Miguel: “Film in Chile,” by Gary Crowdus and Irwin Silber, 4:4, 4-9

Loach, Ken: “The Politics of Everyday Life,” by Susan Ryan and Richard Porton, 24:1, 22-27

—————: “The Revolution Betrayed,” by Richard Porton, 22:1, 30-31

Loach, Ken & Tony Garnett: “A Fidelity to the Real,” by Leonard Quart, 10:4, 26-30

Loach, Ken and Paul Laverty: “Correcting Historical Lies: An Interview with Ken Loach and Paul Laverty,” by David Archibald, 32:2, 26-30

Loncraine, Richard: “Shakespeare in the Cinema: A Film Directors’ Symposium,” by Gary Crowdus, 24:1, 48-55

Longley, James: “The Ravages of War and Occupation: An Interview with James Longley,” by Bilge Ebiri, 32:1, 38-41

Lopes, Fernando: “Cinema in Revolutionary Portugal,” by Deborah Shaffer and Gary Crowdus, 7:3, 24-27

Losey, Joseph: “Screenwriters, Critics and Ambiguity,” by Jason Weiss, 13:1, 46-47

Lounguine, Pavel: “Talking about My Generation,” by Marcia Pally, 18:2, 24-26

Luhrmann, Baz: “Shakespeare in the Cinema: A Film Director’s Symposium,” by Gary Crowdus, 24:1, 48-55

Lumet, Sidney: “Still ‘Making Movies’,” by Dan Georgakas and Leonard Quart, 31:2, 6-13

Lunger, Jeff: “The New Festival,” by Roy Grundmann, 19:1, 52

Lynch, David: “Blue Velvet,” by Laurent Bouzereau, 15:3, 39

Maddin, Guy: “Obsessions into Light,” by Jason Horsley, 33:4, 47-49

—————: “The Pleasures of Melancholy,” by Marie Losier and Richard Porton, 29:3, 18-25

Maggenti, Maria: “An Incredibly True Cinematic Adventure,” by Dennis and Joan M. West, 21:4, 41-42

Mahomo, Nana: “Clandestine Filming in South Africa,” by David H, Anthony III, 7:3, 18-19 & 50

Makavejev, Dusan: “Let’s Put the Life Back Into Political Life,” by Christian Bradd Thomsen, 6:2, 14-18

Makhmalbaf, Mohsen: “I Make Cinema in Order to Breathe,” by Dennis West, 34:4, 10-15

Malle, Louis: “My Discussion with Louis,” by George Hickenlooper, 18:2, 12-17

Manchevski, Milcho: “Cinema Across the Oceans,” by Andrew Horton, 21:3, 45

Mangold, James: “Avoiding Labels and Lullabies,” by John Esther, 33:1, 28-30

Mann, Ron: “Comic Book Confidential,” by David Segal, 17:2, 45

Maoz, Samuel: “Dramatizing Traumatic Memories of War,” by Leonard Quart, 35.2, 34-37

Marczewski, Wojciech: “Shivers,” by Lenny Rubenstein, 11:2, 17-18

Margolis, Barbara: “Are We Winning, Mommy? America and the Cold War,” by Pat Aufderheide, 15:4, 34-35

Marin, Richard Cheech: “Cheech Cleans Up His Act,” by Dennis West and Gary Crowdus, 16:3, 34-37

Mariposa Film Group: “Word Is Out,” by DuMont Howard and Jeffrey Escoffier, 8:4, 8-11 & 59

Marsh, James: “Of Chimps and Humans,” by Cynthia Lucia and Dan Lybarger, 36.3, 4-9

Marshall, Tonie: “Women, Beauty Parlors, and Love,” by Dennis West and Joan M. West, 26:2, 29-31

Martin, Paolo & José Ponce: “Behind Rebel Lines: Filmmaking in Revolutionary El Salvador,” by Susan Ryan, 14:1, 43

Martin, Paolo: “Redefining Documentary in the Revolution,” by Catherine Benamou, 17:3, 11-17

Marzani, Carl: “Union Films,” by Gary Crowdus and Lenny Rubenstein, 7:2, 33-35

Maxwell, Ronald F.: “Film and History: Questions to Filmmakers and Historians,” 29:2, 62-63

McConachy, Susan: “The World at War: Researcher-Interviewer,” by Alan Rosenthal, 9:2, 22-25

McDowell, Malcolm: “‘A Rather Rough Fellow,’” by Robert Cashill, 36.4, 37-39

McElwee, Ross: “Home Movies and Personal Documentaries,” by Lawrence F. Rhu, 29:3, 6-12

—————: “When the Personal Becomes Political,” by Cynthia Lucia, 20:2, 32-37

McGehee, Scott & David Siegel: “Identity Politics at Face Value,” by Roy Grundmann, 20:3, 24-26

McKay, Jim: “An Indie Social Realist,” by Leonard Quart, 25:4, 45

McKellen, Ian: “Gods and Monsters,” by Richard Porton, 24:4, 15

—————: “Shakespeare Is Up To Date,” by Gary Crowdus, 24:1, 46-47

McMullen, Ken: “Zina: Trotsky’s Troubled Daughter,” by Marc Schlossman and Janine de Giovanni, 16:1-2, 44-45

McQueen, Steve: “The Human Body as Political Weapon,” by Gary Crowdus, 34:2, 22-25

Mehta, Ketan: “New Visions in Indian Cinema,” by Udayan Gupta, 11:4, 23-24

Michalek, Boleslaw: “Putting History on the Screen,” by Pat Aufderheide, 13:3, 7-8

Michell, Roger: “A Long-Term Marriage on the Edge,” Leonard Quart, 39.2, 22–23

Mikhalkov-Konchalovsky, Nikita & Andrei: “Family Ties,” by Karen Jaehne, 16:1-2, 34-37

Ming-liang, Tsai: “Taiwan’s Poet of Solitude,” by Jared Rapfogel, 29:4, 26-29

Minh, Ho Quang: “Comprehending the Vietnam War,” by Miriam Rosen, 17:2, 38-39

Monicelli, Mario: “Poverty, Misery, War and Other Comic Material,” by Deborah Young, 29.4, 36-40.

Monroe, Julie, Joe Hutshing & Wylie Stateman: “Cutting Remarks on W.” by Gabriella Oldham, 34:2, 33-37

Monty Python’s Flying Circus: “An Interview, of Sorts,” by Lenny Rubenstein, 7:1,18

Monzón, Daniel: “Spanish Filmmakers Forum,” by Dennis West and Joan M. West, 29:1, 63-64

Moore, Michael: “Michael and Us,” by Dan Georgakas and Barbara Saltz, 23:3, 4-7

Moretti, Nanni: “Comedy, Communism, and Pastry,” by Richard Porton and Lee Ellickson, 21:1-2, 11-15

Morricone, Ennio: “Music at the Service of the Cinema,” by Jon Burlingame and Gary Crowdus, 21:1-2, 76-80

Morris, Errol: “Truth Is Not Subjective,” by Roy Grundmann and Cynthia Rockwell, 25:3, 4-9

—————: “Truth Not Guaranteed,” by Peter Bates, 17:1, 16-17

Mortensen, Viggo: “The Actor as Citizen of the World,” Richard Porton, 40.3, 36–38

Moverman, Oren: “The Knock No One Wants to Hear,” by Dan Lybarger, 35.2, 54-57

Mudd, Victoria, see Florio, Maria

Muhammad, Amir: “Politics and Pomeloes: An Interview with Amir Muhammad,” by Roderick Coover, 32:3, 11-13

Mulford, Marilyn, see Field, Connie

Mullan, Peter: “The Sisters of No Mercy,” by Gary Crowdus, 28:4, 26-33

Muller, Ray: “Her Talent Was Her Tragedy,” by Robert Sklar, 20:3, 22-23

Mulligan, Carey: “Becoming Bathsheba,” Graham Fuller, 40.3, 18–19

Mungiu, Cristian: “Not Just an Abortion Film,” by Richard Porton, 33:2, 35-39

—————: “Loneliness, Guilt, and the Sin of Indifference,” Monica Filimon, 38.1, 20-23

Munoz, Susana, see Portillo, Lourdes

Murch, Walter: “Film Editing, Plumbing, and Revolution,” Declan McGrath, 40.4, 8–12

Musser, Charles: “The Filmmaker as Scholar and Entertainer,” by Roberta Pearson, 13:3, 22-24

Nair, Mira: “I Want My Films to Explode with Life,” by Karin Luisa Badt, 30:1, 10-15

Nava, Gregory: “Filming the Chicano Family Saga,” by Dennis West, 21:4, 26-28

Newman, Paul: “Absence of Malice and the Press,” by Andrew Horton, 12:1, 54-55

Ngakane, Lionel: “South African Filmmaking in Exile,” by Gary Crowdus, 15:2, 16-17

Niddam, Igaal: “We Are All Arab Jews in Israel,” 10:1, 36-38

Nitoslawska, Marielle: “Women Making Porno: Feminism’s Final Frontier?,” by Dennis West and Joan M. West, 27:3, 9-13

Noiret, Philippe: “La Guerre n’est pas Finie,” Karen Jaehne, 18:1, 9-l3

Norton, Edward: “Getting Out of My Head,” by Graham Fuller, 25:1, 6-13

Nossiter, Jonathan: “The Wine We Make Reflects Who We Are,” by Dan Georgakas and Barbara Saltz, 30:3, 12-16

Nunn, Trevor: “Shakespeare in the Cinema: A Film Directors’ Symposium,” by Gary Crowdus, 24:1, 48-55

Ophuls, Marcel: “Film and History: Questions to Filmmakers and Historians,” 29:2, 57

—————: “The Troubles He’s Seen,” by Richard Porton and Lee Ellickson, 21:3, 8-13

Oppenheimer, Joshua: “The Act of Killing,” Melis Behlil, 38.3, 26-31

Oscar: “ ‘I Am Now and I Have Always Been...’—An Interview with ‘Oscar’,” by Lenny Rubenstein and Dan Georgakas, 8:1, 26-27 & 58

Oppenheimer, Joshua and Adi Rukun: “The Look of Silence,” 40.3, 26–31

Oshima, Nagisa: “An Interview,” by Ruth McCormick, 6:2, 27

—————: “An Interview,” by Ruth McCormick, 7:4, 34-35

Östlund, Ruben: “Winter of Discontent,” Richard Porton, 40.1, 38–42

Ottinger, Ulrike: “Minorities and the Majority,” by Roy Grundmann and Judith Shulevitz, 18:3, 40-41 & 16

Ozon, François: “Sex, Violence and Power in the Family,” by Robert Sklar, 30:4, 48-50

Pacific St. Films: “Contributor to The Art and Politics of the Documentary: A Symposium,” 11:3, 12-21

Palcy, Euzhan: “Sugar Cane Alley,” by Susan Linfield, 13:4, 43-44

Palestinian Cinema Association: “Toward a Revolutionary Arab Cinema,” by Guy Hennebelle, Tahar Cheriaa and Serge Le Peron, 6:2, 32-35

Palin, Michael: “Monty Python Strikes Again,” by Lenny Rubenstein, 14:2, 6-9

Pan, Hermes: “The Man Behind Fred and Ginger,” by Dan Georgakas, 12:4, 26-29

Panh, Rithy: “Confronting Images of Ideology,” Deirdre Boyle, 39.3, 33–35

Parker, Alan: “Britain’s Angry Young Man in Hollywood,” by Andrew Horton, 15:2, 30-33

Parker, Oliver: “Shakespeare in the Cinema: A Film Directors’ Symposium,” by Gary Crowdus, 24:1, 48-55

Parks, Gordon: “Beyond the ‘Black’ Film,” by Thom Shephard, 8:2, 38-40

Parton, Dolly: “CEO and Cinderella,” by Karen Jaehne, 17:4, 16-19

Pasikowski, Władysław and Dariusz Jabłonski: “Breaking National Taboos,” Leonard Quart, 39.1, 22–25

Pawlikowski, Pawel: “Film as Meditation,” Leonard Quart, 39.3, 40–44

—————: “Going Against the Grain,” by Richard Porton, 30:3, 37-41

Pecoraro, Susu: “Camila,” by Gary Crowdus, 14:3, 25

Penn, Arthur: “Film and History: Questions to Filmmakers and Historians,” 29:2, 64

—————: “The Importance of a Singular, Guiding Vision,” by Gary Crowdus and Richard Porton, 20:2, 4-16

Perry, Alex Ross: “Lost in the Egosphere,” Richard Porton, 40.1, 16–19

Perugorria, Jorge: “Homosexuality and the Revolution,” by Johannes Birringer, 21:1-2, 21-22

Petri, Elio: “Cinema is Not for an Elite but for the Masses,” by Joan Mellen, 6:1.8-13

Plummer, Christopher: “Acting in the Grand Manner,” by Richard Porton, 34:3, 12-17

Poirier, Anne-Claire: “The Primal Fear,” by Dan Georgakas and William A. Starr, 10:3, 20-24 & 49

Poitier, Sidney: “Entertainment, Politics and the Movie Business,” by Gil Noble, 8:3, 16-23

Poitras, Laura: “Birth of a Whistle-Blower,” Richard Porton, 40.2, 46–49

Polanski, Roman: “Shakespeare in the Cinema: A Film Directo’s’ Symposium,” by Gary Crowdus, 24:1, 48-55

Polley, Sarah: “Family Viewing,” Richard Porton, 38.3, 36-40

Pontecorvo, Gillo: “‘Political Terrorism in Ogro,” by Corinne Lucas, 10:4, 2-5

—————: “The Dictatorship of Truth,” by Edward Said, 25:2, 24-25

—————: “Using the Contradictions of the System,” by Harold Kalishman, 6:2, 2-6

Portillo, Lourdes & Susana Munoz: “Las Madres de la Plaza de Mayo,” by Coco Fusco, 15:1, 22-25

Porumboiu, Corneliu: “Language and Power,” by Richard Porton, 35.2, 26-29

Potter, Sally: “Demystifying Traditional Notions of Gender,” by Pat Dowell, 20:1, 16-17

—————: “Saying ‘Yes’ to Taking Risks,” by Cynthia Lucia, 30:4, 24-30

Praunheim, Rosa von: “Rebel with a Cause,” by Ger Zielinski, 37.3, 38-44

Preston, Gaylene: “Facts, Fairytales and the Politics of Storytelling,” by Helen Frances, 30:4, 36-41

Price, Richard: “A Screenwriter and Novelist Eyeballs the Inner City,” by Leonard Quart and Albert Auster, 22:1, 12-17

Pulcini, Robert and Springer Berman, Shari: “Splendid Misery,” by Joan M. West and Dennis West with Anne Gilbert, 28:4, 40-43

Rabal, Liberto: “Spanish Filmmakers Forum,” by Dennis West and Joan M. West, 29:1, 64

Rappaport, Mark: “The Jean Seberg We Missed,” by Jonathan Rosenbaum, 22:1, 23-25

Rauchendorf, Heinz-Dieter: “A German Cinema for a German People,” by Karl Witzbold, 6:2, 40-42

Ray, Satyajit: “The Politics of Humanism,” by Udayan Gupta, 12:1, 24-29

Redford, Robert: “Combining Entertainment and Education,” by Mikelle Cosandaey, 16:1-2, 8-12

Reichardt, Kelly: “The Way West: A Feminist Perspective,” by Leonard Quart, 36.2, 40-42

Resnais, Alain: “An Auteur in Spite of Himself,” by Gary Crowdus and Richard Porton, 35.3, 6-9

Revueltas, Rosaura: “This Film Is Going to Make History,” by Esteve Riambau and Casimiro Torreiro, 19:2-3, 50-51

Reygadas, Carlos: “The Impossible Becomes Reality,” Robert Koehler, 38.3, 10-15

—————: “No Slave to Realism,” by Karin Badt, 31:3, 21-23

Riggs, Marlon: “New Agendas in Black Filmmaking,” by Roy Grundmann, 19:2-3, 52-54

Riker, David: “Rediscovering Radical Film Style,” by Robert Sklar, 24:2-3, 6-9

Ritt, Martin: “Working Class Hero,” by Lyn Goldfarb and Anatoli Ilyashov, 18:4, 20-23

Rivele, Stephen J.: “Bringing Historical Characters to Life,” by Don Coppola, 27:2, 16-19

Robbins, Tim: “Between Ethics and Politics,” by Roy Grundmann and Cynthia Lucia, 22:2, 4-9

Rocha, Glauber: “Cinema Novo vs. Cultural Colonialism,” by Gary Crowdus and William Starr, 4:1, 2-9 & 35

Rohrwacher, Alice: “An Evanescent Girlhood,” Maria Garcia, 40.4, 26–29

Rollins, Howard Jr.: “A Soldier’s Story,” by Peter Roffman and Bev Simpson, 14:1, 43

Rosenthal, Alan: “Film and History: Questions to Filmmakers and Historians,” 29:2, 57-58

Rosi, Francesco: “Film and History: Questions to Filmmakers and Historians,” 29:2, 64-65

—————: “Investigating the Relationship Between Causes and Effects,” by Gary Crowdus, 20:4, 26-27

—————: “Personalizing Political Issues,” by Gary Crowdus, 12:2, 42

—————: “The Audience Should Not Be Just Passive Spectators,” by Gary Crowdus and Dan Georgakas, 7:1, 2-8

Rosner, Jessica: “Women Film Pioneers on Video,” by Alison McMahan, 26:1, 60

Rossellini, Roberto: “Roberto Rossellini Talks about Marx, Freud and Jesus,” by Giovanna di Bernardo, 8:1, 32-33

Roth, Eric: “Living in a Wilderness of Mirrors: An Interview with Eric Roth,” by Gary Alan Crowdus, 32.3, 14-19.

Rouch, Jean: “The Politics of Visual Anthropology,” by Dan Georgakas, Udayan Gupta and Judy Janda, 8:4, 16-24

Rozema, Patricia: “I’ve Heard the Mermaids Singing,” by Karen Jaehne, 16:3, 22-23

Rusconi, Jane: “Striving for Authenticity,” by Gary Crowdus, 19:1, 33-34

Salles, Walter: “Sentimental Journey as National Allegory,” by Anthony Kaufman, 24:1, 19-21

Sander, Helke: “There Should Be No Scissors in Your Mind,” by Stuart Liebman, 21:1-2, 40-42

Sanjines, Jorge: “A Talk with Jorge Sanjines,” 4:3, 12

—————: “The Courage of the People,” by Dina Nascetti, 5:2, 18-20

Sarandon, Susan: “Acting, Activism and Hollywood Politics,” by Roy Grundmann and Cynthia Lucia, 20:1, 5-11

Sarris, Andrew: “Andrew Sarris on Film Students,” 2:1, 24 & 36

—————: “Confessions of a Middle Class Film Critic,” by Al Auster and Leonard Quart, 9:3, 10-15

Sayles, John: Borders and Boundaries,” by Joan M. West and Dennis West, 22:3, 14-17

—————: “Counterculture Revisited,” by Al Auster and Leonard Quart, 11:1, 16-19

—————: “Don't Make Your Dreams Too Small,” by Dan Georgakas, 33:2, 14-19

—————: “Not Playing by the Usual Rules,” by Dennis West and Joan M. West, 24:4, 28-31

—————: “Where the Hope Is,” by Gary Crowdus and Leonard Quart, 18:4, 4-7 & 61

—————: “Film and History: Questions to Filmmakers and Historians,” 29:2, 65-66

—————: “Filmmaking as Storytelling,” by Pat Aufderheide, 15:4, 12-15

—————: “High School Class Perspectives,” by Daniel Popkin, 13:1, 39-40

—————: “Not Playing by the Usual Rules,” by Dennis West and Joan M. West, 24:4, 28-31

—————: “The Birth of an Empire,” Gary Crowdus, 37.1, 44-48

—————: “Where the Hope Is,” by Gary Crowdus and Leonard Quart, 18:4, 4-7 & 61

Schaffner, Franklin: “An Interview with Franklin Schaffner,” by Gerald Pratley, 3:1, 11-16 & 33

Schama, Simon: “Film and History: Questions to Filmmakers and Historians,” 29:2, 58

Schidor, Deiter: “The Wizard of Babylon,” by Gregory Solman, 12:4, 17-19

Schiller, Greta & Andrea Weiss: “The International Sweethearts of Rhythm,” by Rob Edelman, 15:4, 32-33

Schlesinger, John: “Reflections of an Englishman Abroad,” by Richard Porton and Lee Ellickson: 20:4, 39-41

Schlöndorff, Volker: “Coming to Terms with the German Past,” by Gary Crowdus and Richard Porton, 26:2, 18-23

—————: “The Limits of Journalism,” by Al Auster and Leonard Quart, 12:2, 47

Schrader, Paul: “Blue Collar,” by Gary Crowdus and Dan Georgakas, 8:3, 34-37 & 59

—————: “Patty Hearst,” by Glenn Rechler, 17:1, 31

—————: “These Are Very Uncertain Times,” by Leonard Quart, 24:1, 12-14

Schroeder, Barbet: “Justice, Irony, and Reversal of Fortune,” by Robert Sklar, 18:2, 4 & 6-7

Schulberg, Budd: “The Screen Playwright as Author,” by Dan Georgakas, 11:4, 6-15 & 39

Schulberg, Sandra & Josh Waletzky, “War Crimes and History Lessons,” by Dan Lybarger, 36.1, 28-31

Sembène, Ousmane: “Filmmakers Have a Great Responsibility to Our People,” by Harold Weaver, 6:1, 26-31

—————: “The Power of Female Solidarity,” by Richard Porton and Jared Rapfogel, 30.1, 20-25

Semprun, Jorge: “The Truth Is Always Revolutionary,” by Theo Blomquist, 9:4, 10-16, 62

Sen, Mrinal: “New Visions in Indian Cinema,” by Udayan Gupta, 11:4, 18-20

Serban, Florin: “The Prison of the Mind,” by Diana Wade, 36.2, 44-48

Shaffer, Deborah, see Bird, Stewart

Sharif, Omar: From the Golden Crescent to Paris…and Back,” by Yazmin Ghonaim, 29:2, 14-17.

—————: “The Making of Omar Sharif,” by Miriam Rosen, 17:1, supp. 18-20

Shengelaia, Adriana, see Soviet Cinema Today

Shepard, David: “Sprucing Up the Silents,” by Gary Crowdus, 21:3, 17

Sheridan, Jim: “Getting Past the Violence,” by Gary Crowdus and O’Mara Leary, 23:3, 13-15

Shinoda, Masahiro: “MacArthur’s Children,” by Kyoko Hirano, 14:3, 51

Shamir, Yoav: “Reframing Anti-Semitism,” by Richard Porton, 35.1, 50-54

Sinofsky, Bruce, see Berlinger, Joe

Sissako, Abderrahmane: “Hidden Certainties and Active Doubts,” Michael Guillén, 40.2, 42–45

Sissoko, Cheick Oumar: “I Make Films about the Big Problems of Our Continent,” by Ray Privett, 25:2, 38-40

Sivan, Eyal: “Historical Memory and Political Violence,” Gary Crowdus, 37.4, 22-31

Sjöman, Vilgot: “Art Is Born at the Frontiers of Taboo,” by Dan Georgakas and Gary Crowdus, 8:2, 12-17

Sklar, Zachary: “Getting the Facts Straight,” by Gary Crowdus, 19:1, 28-32

SLON: “SLON: Working Class Cinema in France,” by Guy Hennebelle, 5:2, 15.17

Sokurov, Alexander: “The Foundations of Film Art,” by Kirill Galetski, 26:3, 4-9

Solanas, Fernando: “Cinema as a Gun: An Interview with Fernando Solanas,” by the Editors of Ombre Rosse, 3:2, 18-26 & 33

—————: “The Tango of Esthetics and Politics,” by Coco Fusco, 16:1-2, 57-59

Solomon, James: “History Has a Way of Repeating Itself,” by Gary Crowdus, 36.2, 20-25

Solondz, Todd: “Surviving Adolescence with Dignity,” by Alice Cross, 22:3, 24-26

Sorrentino, Paolo: “Exposing the Dark Secrets of Italian Political History,” by Gary Crowdus, 34:3, 32-37

—————: “In Search of The Great Beauty,” Gary Crowdus, 39.2, 8–13

Soviet Cinema Today: “Interview with Soviet Film Delegation, incl. Grigory Kozintsev, Adriana Shengelaia, and Sergei Komarov,” by Dan Georgakas, 7:2, 30-32

Spears, Ross: “Film and History: Questions to Filmmakers and Historians,” 29:2, 58-59

Spottiswoode, Roger: “Intervening Images,” by Annette lnsdorf, 13:2, 39-40

Springer, John: “The Man Behind the Faces,” by Al Auster and Gary Crowdus, 10:3, 25-27

Stateman, Wylie, Julie Monroe and Joe Hutshing: “Cutting Remarks on W.” by Gabriella Oldham, 34:2, 33-37

Stone, Oliver: “Clarifying the Conspiracy,” by Gary Crowdus, 19:1, 25-27

—————: “Dramatizing Issues That Historians Don’t Address,” by Gary Crowdus, 30:2, 12-23.

—————: “History, Dramatic License, and Larger Historical Truths,” by Gary Crowdus, 22:4, 38-42

—————: “Past Imperfect: History According to the Movies,” by Mark C. Carnes, 22:4, 33-37

—————: “Personal Struggles and Political Issues,” by Gary Crowdus, 16:3, 18-21

Strathairn, David & Chris Cooper: “Working with John Sayles,” by Dan Georgakas, 33:2, 20-21

Suleiman, Elia: “Notes from the Palestinian Diaspora,” by Richard Porton, 28:3, 24-27

Swinton,Tilda: “Achieving a State of Limitlessness,” by Dennis West and Joan M. West, 20:1, 19-21

Syberberg, Hans-Jürgen: “Sustaining Romanticism in a Postmodernist Cinema,” by Christopher Sharrett, 15:3, 18-20

Szabo, Istvan: “Dreams and Nightmares,” by Lenny Rubenstein, 12:2, 36

Tamahori, Lee: “Social Realism with Style,” by Robert Sklar, 21:3, 25-27

Tanner, Alain: “Irony Is a Double Edged Weapon,” by Lenny Rubenstein, 6:4, 26-29

—————: “Keeping Hope for Radical Change Alive,” by Lenny Rubenstein, 7:4, 24-25

Tavernier, Bertrand: “Blending the Personal with the Political,” by Leonard Quart and Lenny Rubenstein, 8:4, 25-27 & 55

—————: “Cinema Can Open Windows,” by John Esther, 36.3, 46

—————: “Filming a Forgotten War,” by Joan M. West and Dennis West, 23:3, 20-23

—————: “La Guerre n’est pas Finie,” Karen Jaehne, 18:1, 9-13

—————: “Round Midnight,” by Jean-Pierre Cousodon, 15:2, 18-23

—————: “The Spirit of Resistance,” by Richard Porton and Sandy Flitterman-Lewis, 28:2, 4-9

Taviani, Paolo & Vittorio: “Doing Time with Shakespeare,” Tony Pipolo, 38.1, 42-45

—————: “We Believe in the Power of Cinema,” by Gary Crowdus, 12:3, 30-34

Tavoularis, Dean: “Setting the Stage,” by Dan Georgakas and Barbara Saltz, 23:4, 20-22

Taymor, Julie: “Mayhem, Madness, Method,” by Maria De Luca and Mary Lindroth, 25:3, 28-31

Tian, Zhuangzhuang: “Peoples and Politics, Simple and Direct,” by Robert Sitlar, 20:4, 36-38

Tiana, Thi Thahn Nga: “A Search for Roots and Identity,” by Saul Anton, 20:3, 46-47

To, Johnny: “One Country, Two Visions: An Interview with Johnnie To,” by Martha P. Nochimson and Robert Cashill, 32:2, 36-39

Towne, Robert: “The Investigative Screenwriter,” by Casey Burchby, 37.3, 20

Traore, Mahama: “Cinema in Africa Must Be a School,” by Gary Crowdus and Marvis Broullon, 6:1, 32-35

Treut, Monika: “Coming to America,” by Steve Fox, 19:1, 63-64

Trevino, Jesus: “Chicano Cinema,” by Jim Miller, 8:3, 38-41

Trueba, Fernando: “Spanish Filmmakers Forum,” by Dennis West and Joan M. West, 29:1, 64

Truffaut, François: “Reminiscing About Shoot the Piano Player,” by Helene Laroche Davis, 19:4, 30-33

Ullmann, Liv: “Actress Behind the Camera,” by Richard Porton, 26: 32-34 & 37

Ustaoglu, Yesmin: “Confronting Turkey’s Social Realities,” by Nicolas Monceau, 26:3, 28-30

Van Lierop, Robert: “A Luta Continua,” by Gary Crowdus and Udayan Gupta, 9:1, 26-31

Varda, Agnès: “One Sings, the Other Doesn’t,” by Ruth McCormick. 8:3, 28-31

—————: “The Modest Gesture of the Filmmaker,” by Melissa Anderson, 26:4, 24-27

—————: “Traveling a Different Route,” by Rob Edelman, 15:1, 20-21

Vaughn, E.J. & John Schott: “Deal: Behind the Scenes on ‘Let’s Make a Deal’,” by Lenny Rubenstein, 9:2, 36-39

Vazquez, Emilio Rodriguez & Carlos Vicente Ibarra: “Filmmaking in Nicaragua: From Insurrection to INCINE,” by Julianne Burton, 10:2, 28-31

Vega, Pastor and Daisy Granados: “Portrait of Teresa,” by Patricia Peyton and Carlos Broullon, 10:1, 24-25 & 27

Vidor, King: “King Vidor at NYU,” 1:4, 2-8 & 33

Vinterberg, Thomas: “Something Rotten in the State of Denmark,” by Richard Porton, 24:2-3, 17-19

Vogel, Amos: “To Counteract the Forces of Hollywood,” Bill Nichols, 39.4, 4–9

Volonté, Gian Maria: “Acting and the Collective Filmmaking Experience,” by Gary Crowdus and Dan Georgakas, 15:1, 9-11

—————: “Gian Maria Volonté Talks About Cinema and Politics,” by Guy Braucourt, 7:1, 10-13

Von Trotta, Margarethe: “A Great Woman Theory of History,” by Karen Jaehne and Lenny Rubenstein,” 15:4, 24-28

—————: “Invaded by Memories of Germany’s Past,” by Robert Sklar, 29:2, 10-12

—————: “Sheer Madness,” by Carol Bergman, 13:4, 47

Voulgaris, Pantelis: “Chronicles of Modern Greece,” by Cleo Cacoulidis, 22:2, 34-36

Wajda, Andrzej: “A Love in Germany,” by Lenny Rubenstein, 14:2, 19-20

—————: “Between the Permissible and the Impermissible,” by Daniel Bickley and Lenny Rubenstein, 11:1, 2-9 & 49

—————: “The Abuses, and Uses, of Film Censorship,” Anna Krakus, 39.3, 3–9

—————: “The Man Who Put Poland On the Postwar Map of Cinema,” by Pat Dowell, 19:4, 51-53

Waletzky, Josh & Aviva Kempner: “Partisans of Vilna,” by Annette Insdorf, 15:2, 37-38

Wang, Wayne: “Chan Is Missing,” by Erick Dittus, 12:3, 16-20

Weerasethakul, Apichatpong: “Creating His Own Cinematic Language,” by Holger Römers, 30:4, 42-47

Weir, Peter: “The Birth of a Nation,” by Claudia and Peter Fonda-Bonardi, 11:4, 41-42

Weiss, Andrea: “Film and History: Questions to Filmmakers and Historians,” 29:2, 59-60

Welles Feder, Christopher: “A Very Good Daughter,” by Peter Tonguette, 35.1, 46-49

Wenders, Wim: “Angels, History, and Poetic Fantasy,” by Coco Fusco, 16:4, 14-17

Wertmüller, Lina: “You Cannot Make the Revolution on Film,” by Paul McIsaac and Gina Blumenfeld, 7:2,6-9

Wexler, Haskell: “Creating Cinema with a Sense of Urgency,” by Gary Crowdus and Dan Georgakas, 14:3, 11-13

White, Hayden: “Film and History: Questions to Filmmakers and Historians,” 29:2, 66-67

Wineburg, Sam: “Film and History: Questions to Filmmakers and Historians,” 29:2, 67-68

Winterbottom, Michael: “In Praise of Folly,” by Richard Porton, 31:2, 28-31

Wiseman, Frederick: “La Danse and Rhythms of Institutions,” by Maria Garcia 35.2, 12-16

—————: “Revisiting High School,” by Cynthia Luria, 20:4, 5-11

Wood, Andrés: “Chile in the Time of the Generals,” by John Esther, 30:3, 67

Yacef, Saadi: “Terrorism and Torture in The Battle of Algiers,” by Gary Crowdus, 29:3, 30-37

Yang, Edward: “The Engineer of Modern Perplexity,” by Robert Sklar, 26:1, 6-8

Young, Freddie: “Just Make It Marvelous, Freddie!,” by Gary Crowdus, 21:3, 18-21

Young, Robert: “The Ballad of Gregorio Cortez,” by Sheldon Sunness, 13:4, 39-40

Yurick, Sol: “The Warriors,” by Al Auster and Dan Georgakas, 9:3, 22-24

Zanussi, Krzysztof: “The Workings of a Pure Heart,” by Jason Weiss, 11:2, 23-27

Zeffirelli, Franco: “Shakespeare in the Cinema: A Film Directors’ Symposium,” by Gary Crowdus, 24:1, 48-55

Zhang Yimou: “Becoming a Part of Life,” by Robert Sklar, 20:1, 28-29

Zhangke, Jia: “Illusory Worlds,” by Richard James Havis, 30:4, 58-59

—————: “Still Lives in Times of Change,” by Jared Rapfogel, 33:2, 44-47

Ziering, Amy see Dick, Kirby

Zinn, Howard: “Film and History: Questions to Filmmakers and Historians,” 29:2, 68

Zinnemann, Fred: “A Past Master of His Craft,” by Brian Neve, 23:1, 15-19

Zurinaga, Marcos: “La Gran Fiesta,” by Alfredo Behar, 16:4, 49

Zwick, Edward: “A Gulf War Rashomon,” by Pat Dowell, 22:3, 11-13

 

 

FILM REVIEWS

(includes “Short Takes” and DVD Reviews)

$8.50 a Barrel!, Andrew Horton, 12:1, 59

100 Days Before the Command, Louis Menashe, 26:2, 64

11th Hour, The, Tom Meek, 33:1, 58-59

12 Angry Men, Gary Crowdus, 37.2, 62

12 Monkeys, John Fried, 22:3, 47-48

12:08, East of Bucharest, Dominique Nasta, 32:3, 62-63.

1919, Leonard Quart, 15:3,48-49

21 Grams, Kimberly Chun, 29:2, 22-23

24 City, Kevin B. Lee, 34:4, 44-46

24 Hour Party People, Thomas Doherty, 28:1, 35-37

28 Up, Leonard Quart, 14:4, 40-41

3 Rooms of Melancholia, The, Louis Menashe, 30:4, 80

3 Women, Leonard and Barbara Quart, 8:1, 42-44

30 Frames a Second: The WTO in Seattle, Paul Arthur, 26:2, 64

3000 Years and Life, Dan Georgakas, 6:3, 33-34

35 Shots of Rum, Robert Sklar, 36.1, 66

4 Little Girls, Mia L. Mask, 24:1, 80-82

400 Blows, The, David Sterritt, 32:1, 64

47 Ronin, Diane Stevenson, 25:3, 53-55

’71, Michael Gray, 40.3, 55–57

79 Springtimes, Lenny Rubenstein, 4:3, 39-40

8 1/2, James Monaco, 27:3, 46-47

9/11 Mysteries, Gary Crowdus, 33:1, 80

A nos amours, Jared Rapfogel, 31:4, 80-81

A Scanner Darkly, Michael Joshua Rowin, 31:4, 75-77

About a Boy, Karen Backstein, 27:4, 44-45

About Last Night..., Hal W. Peat, 15:2, 43-45

Abraham Lincoln, Thomas Doherty, 38.2, 67

Absence of Malice, Robert Sklar, 12:1, 53-56

Absolute Wilson, Kerin Ogg, 32:1, 88

Accused, The, Cindy Fuchs, 17:1, 26-211

Ace in the Hole, Robert Sklar, 33:2, 67-69

Actor, The, Rahul Hamid, 27:1, 41

Addiction Incorporated, Robert Ribera, 37.2, 72

Adventures of Antoine Doinel, The (includes reviews of The 400 BlowsAntoine   et ColetteStolen KissesBed and Board, and Love on the Run), James Monaco, 29:1, 69-70

Advertising and the End of the World, Janet Cutler, 27:1, 64

Affliction, Leonard Quart, 24:1, 72-74

After Auschwitz, Cindy Lucia, 28.1, 64

After Life, Ed Kelleher, 25:1, 64

After Tiller, Mary Bowen, 39.2, 72

Agee, Gary Crowdus, 10:3, 39

Agnes of God, Angela Bonavoglia, 14:3, 41-42

Agronomist, The, Adrian Martin, 31:2, 72

Agustin’s Newspaper, Dennis West, 35.1, 88

Ai Weiwei: Never Sorry, Shelly Kraicer, 37.4, 49-51

Alexander Nevsky, Tony Pipolo, 28:1, 42-44

Alexander Revisited: The Final Cut, Gary Crowdus, 32:3, 84-85

Alexandra, Megan Ratner, 33:2, 52-53

Ali, Leger Grindon, 27:2, 32-33

Alice Doesn’t Live Here Anymore, Fred Kaplan, 7:1, 32-34

Alice in Wonderland, Robert Cashill, 30:1, 54-56

Alien, Henry Ladson, 9:4, 45-46

All My Good Countrymen, Leonard Quark, 34:1, 65-66

All or Nothing, Leonard Quart, 28.1, 38 & 40

All Our Lives, Richard Porton, 15:4, 38

All Over Me, Cynthia Lucia, 23:1, 64

All That Heaven Allows, Christopher Sharrett, 39.4, 66–67

All That Jazz, Al Auster, 10:2, 39-40

Allonsanfan, Dan Bickley, 7:2, 39-40

Almost Famous, Thomas Doherty, 26:1, 50-51

Alphaville, Royal S. Brown, 22:1, 52

Amandla! A Revolution in Four Part Harmony, Janet Cutler, 28.3, 64.

Amarcord, Marco Calavita, 24:1, 83

Amazing Grace, Thomas Doherty, 32:3, 66-68

America Is Hard to See, Joan Mellen, 4:4, 28

America: From Hitler to MX, Lenny Rubenstein, 13:1, 24

America the Beautiful 3: The Sexualization of Our Youth, Sarah Leventer, 40.2, 80

American Beauty, Paul Arthur, 25:2, 51-52

American Dream, Richard Porton, 18:4, 42

American Dreams (lost and found), Adrian Martin, 37.3, 60

American Faust: From Condi to Neo-Condi, Michelle Robinson, 35.3, 72

American Film Theatre Collection, The, Robert Cashill, 29:2, 75-77

American Hustle, Thomas Doherty, 39.2, 35–36

American Pictures, Kenneth Spence, 14:4, 41 & 29

American Psycho, Richard Porton, 25:3, 43-45

American Radical: The Trials of Norman Finkelstein, Susan Ryan, 35.2, 60-61

American Revolutionary: The Evolution of Grace Lee Boggs, Dan Georgakas, 39.3, 55–57

American Silent Horror Collection, Michael Bronski, 33:2, 61-63

American Teacher, Cynthia Lucia, 37.1, 80

American Tongues, Andrew Horton, 16:1-2, 81

Amour, Christopher Sharrett, 38.1, 50-51

An Affair of Love, Ed Kelleher, 25:3, 64

An Angel at My Table, Mariam Niroumand, 18:4, 49-50

Anarchism in America, Lenny Rubenstein, 13:1, 26

Anatomy of a Murder, Royal S. Brown, 37.3, 52-53

And Everything Is Going Fine, David Sterritt, 36.2, 54-55

And Nothing But the Truth, Lenny Rubenstein, 13:3, 50-51

Angela: Portrait of a Revolutionary, Tom Brom, 5:2, 25-26

Angela’s Ashes, Michael Gray, 25:2, 56-57

Angels in America, Michael Bronski, 29:4, 57-59

Angry Harvest, Karen Jaehne, 15:1, 39-40

Animated Soviet Propaganda, Louis Menashe, 32:3, 86

Anita O’Day: The Life of a Jazz Singer, Louis Menashe, 35.1, 76

Anna Karenina, Karen Backstein, 38.2, 54-55

Anna Karenina, Louis Menashe, 23:1, 64

Another Road Home, Pat Aufderheide, 30:1, 80

Apartment Zero, Robert Hilferty, 17:4, 47-48

Apocalypse Now Redux, Thomas Doherty, 27:1, 30-31

Apocalypse Now, Ruth McCormick, 9:4, 51-53

Appalshop Films, Tom Brom, 6:4, 41-42

Architecture of Frank Lloyd Wright, The, Gail Levin, 18:2, 34

Are We Winning, Mommy? America and the Cold War, Dan Leab, 16:3, 24

Arguing the World, Leonard Quart, 23:3, 64

Armored Attack!/The North Star, Louis Menashe, 39.4, 70

Army of Shadows, Jared Rapfogel, 36.2, 68

Army of Shadows, Sandy Flitterman-Lewis, 31:4, 68-71

As a Young Girl of Thirteen: Simone Lagrange Remembers Auschwitz, Stuart Liebman, 38.2, 80

Ashik Kerib, Jonathan Rosenbaum, 27:3, 42-44

Atheism, Michelle Robinson, 32:4, 80.

Atomic Café, The, Deirdre Boyle, 12:2, 39-41

Attica, Dan Georgakas, 6:3, 33-34

Augustine, Maria Garcia, 38.3, 43-45

Aurora, Monica Filimon, 36.3, 42-44

Autobiography of Nicolae Ceausescu, The, Monica Filimon, 37.1, 51-53

Autumn Afternoon, An, Catherine Russell, 34.2, 83-84

Autumn Sonata, Barbara Quart, 9:3, 43-45

Autumn Sonata, Leonard Quart, 39.2, 59

Aviator, The, Thomas Doherty, 30:2, 44-46

B-52, Paul Arthur, 27:2, 64

Baadasssss!, Paula Massood, 29:3, 42-43

Baader Meinhof Complex, The, Robert Sklar, 34:4, 42-44

Baby, It’s You, Angela Bonavoglia, 13:1, 38 & 40

Bad Luck, Stuart Leibman, 32:2, 62-64

Bad Timing, Royal S. Brown, 31:2, 68-70

Baghdad in No Particular Order, Deirdre Boyle, 30:1, 80

Bal-Can-Can, Zoran Samardzija, 32:3, 57

Balkanisateur, Alex Lykidis, 32:3, 51

Ballad of Gregorio Cortez, The, Paul Elitzik, 13:4, 38 & 40-41

Ballad of Little Jo, The, Karen Backstein, 20:2, 45-47

Ballad of Narayama, Jared Rapogel, 38.3, 63

Ballad of Ramblin’ Jack, Melissa Anderson, 25:4, 64

Ballerina, Karen Backstein, 34:3, 80

Baran, Rahul Hamid, 27:2, 36-38

Barbie Nation, Maria San Filippo, 26:2, 64

Bastards of Utopia, Richard Porton, 36.4, 80

Bataille du Rail, La, Leshu Torchin, 32:1, 66-68

Battle of Algiers, The, Gary Crowdus, 16:4, 22

Battle of Chile, The, Dennis West, 11:2, 35-37

Battle of Chile, The, Dennis West, 35.2, 75

Battleship Potemkin, Stuart Liebman, 33:4, 61-62

Beat That My Heart Skipped, The, Kevin Canfield, 30:4, 80

Beau Travail, George Rafael, 25:4, 40-41

Beautiful Mind, A, Cynthia Rockwell, 27:3, 36-37

Beautiful People, Andrew Horton, 25:3, 45-46

Beauty of the Devil, The, David Sterritt, 39.2, 50–52

Beaver Trilogy, The, Aaron Krach, 26:1, 72

Bed and Sofa, Stuart Liebman, 30:3, 71-73

Bedrooms and Hallways, Eleni Kosmidis, 25:1, 64

Beetle Queen Conquers Tokyo, Alexander Swanson, 35.3, 72

Before the Rain, Andrew Horton, 21:3, 44-46

Being John Malkovich, David Sterritt, 25:2, 64

Being Julia, Conrad Geller, 30:1, 46-47

Being There, Andrew Horton, 10:2, 36-37

Beirut: The Last Home Movie, David Bartholomew, 16:4, 54-56

Belle de Jour, Richard Carreno, 1:3, 23

Belle de Jour, Richard Porton, 23:1, 54

Belle de jour, Richard Porton, 37.3, 60

Bellissimo, Gary Crowdus, 16:1, 57

Belzec, Stuart Liebmann, 35.4, 58-59

Bergman’s Island, Leonard Quart, 34:4, 63

Berkeley in the Sixties, Richard Porton, 18:2, 31-32

Berlin Alexanderplatz, Jared Rapfogel, 34:1, 60-62

Best Government Money Can Buy?, The, Nicholas Forster,

Best of Enemies, Frankie Vanaria, 40.4, 80

Best of Youth, Nancy Keefe Rhodes, 32:1, 70-71

Betrayal, The, Robert Ribera, 34:3, 80

Between the Lines, Randall Conrad, 8:2, 49-50

Beyond Hatred, Robert Ribera, 34:1, 88

Beyond Rangoon, Gary Crowdus, 22:3, 48

Beyond the Walls, Miriam Rosen, 14:3, 47-48 & 50

Bhaji on the Beach, Leonard Quart, 20:4, 48-49

Big Chill, The, Rob Edelman, 13:2, 41-42

Big Gundown, The, Robert Cashill, 39.2, 59

Big Joy: The Adventures of James Broughton, Jason Michelitch, 39.4, 80

Bigger Than Life, Richard Porton, 35.3, 58

Bill’s Dirty Shorts, Rahul Hamid, 32:2, 78

Billy Jack, Joan Mellen, 5:2, 26-31

Billy Jack, Ruth McCormick, 6:2, 51

Billy Liar, Leonard Quart, 27:3, 47-48

Bingo Long’s Traveling All-Stars and Motor Kings, Michele Russell, 9:1, 36-37

Birdman, Declan McGrath, 40.3, 67–69

Birth of a NationThe, Phillip Lopate, 28:3, 49-50

Black and White in Color, Michael Gallagher, 8:2, 42-44

Black DahliaThe, Armond White, 32:1, 58-60

Black Is, Black Ain’t, Cliff Thompson, 22:4, 55-56

Black Orpheus, Royal S. Brown, 36.1, 56-58

Black Press: Soldiers without SwordsThe, Geoffrey Jacques, 24:1, 74-75 & 84

Black Sun, Mark Hennessey, 35.2, 88

Black Sunday, Robert Cashill, 38.2, 65-66

Black UnicornThe, Dan Georgakas, 22:4, 61

Blackboards, Dan Georgakas, 28:2 64

Blacks and Jews, Leonard Quart, 23:2, 44-45

Blade Runner, Paul Elitzik, 12:3, 46-47

Blank City, Alexander Swanson, 36.4, 80

Blind Husbands, John Calhoun, 29:2, 78-80

Blind Husbands, Rahul Hamid, 32:3, 78-80

Blind Spot: Hitler’s Secretary, Saul Austerlitz, 28:3, 64

Blinky and Me, Roy Grundmann, 38.1, 80

Blissfully Yours, Jared Rapfogel, 32:4, 65

Blockade, Louis Menashe, 32.2, 96

Blonds, The, Karen Backstein, 29:4, 49-50

Blood and Wine, Armond White, 31:4, 86-87

Bloodbrothers, Al Auster & Leonard Quart, 9:2, 40-41

Bloody Sunday, Martin McLoone, 27:4, 42-43

Blue AngelThe, Thomas Doherty, 27.2, 44-45

Blue Is the Warmest Color, Darragh O’Donoghue, 39.2, 40–42

Blue Jasmine, Sam B. Girgus, 39.1, 53–55

Blue Steel, Jude Schwendenwien, 18:1, 51 & 21

Blue Velvet, Karen Jaehne, 15:3, 38 & 40-41

Bluebeard, Maria Garcia, 35.2, 61-63

Boatload of Wild Irishmen, A, Charles Warren, 37.2, 72

Bob Roberts, Robert Sklar, 19:1, 77-79

Bonnie and Clyde, David Sterritt, 33:4, 63-64

Boogie Man: The Lee Atwater Story, David Sterritt, 35.4, 52-53

Boogie Nights, Thomas Doherty, 23:3, 40-41

Boomtown, Lenny Rubenstein, 14:3, 29

Border Post, Pavie Levi, 32:3, 63

Border WallThe, Michelle Robinson, 34:2, 96

BorderThe, Lori Potter, 12:2, 45-46

Born on the Fourth of July, Christopher Sharrett, 17:4, 48-50

Bottle Rocket, Chris Taylor, 34:2, 85

Bound for Glory, Jim Green, 8:1, 36-37

Bowling for Columbine, Christopher Sharrett and William Luhr, 28:2, 36-38.

Boycott, Rahul Hamid, 27:1, 40

Boyhood, Max Nelson, 39.4, 52–53

Boys Don’t Cry, Melissa Anderson, 25:2, 54-56

Boys on the Side, Suzanne Malu, 21:3, 64

Bra Boys, Roy Grundmann, 33:4, 88

Brandon Teena StoryThe, Melissa Anderson, 25:2, 54-56

Brazil, Lenny Rubenstein, 14:4, 48-49

Breach, Robert Sklar, 32:3, 68-71.

Bread and Chocolate, Lenny Rubenstein, 9:1, 42-43

Breaker Morant, Robert Cashill, 33:3, 73

Breaker Morant, Robert Sklar, 11:4, 43-45

Breakfast on Pluto, Michael Gray, 31:1, 59-60

Breaking Away, Al Auster, 10:1, 48-49

Breaking Glass, Jim Farber, 11:3, 36-37

Breaking the Waves, Cynthia Lucia, 22:4, 72

Brick Lane, Jonathan Murray, 33:3, 52-54

Brick-Makers, Julianne Burton, 7:3, 38-39

Bride Wore Black, The, Leonard Quart, 40.3, 71

Brideshead Revisted, Oliver Pattenden, 34:1, 57-59

Bridge on the River KwaiThe, Gary Crowdus, 26:2, 50-51

Bridge on the River Kwai, The, Gary Crowdus, 36.2, 68

Bringing Up Baby, John Calhoun, 30:3, 70-71

Britannia Hospital, Lenny Rubenstein, 12:4, 38

Broadway Danny Rose, Burns Raushenbush, 13:3, 40-42

Brokeback Mountain, Roy Grundmann, 31:2, 50-52

Broken Blossoms, Phillip Lopate, 28:3, 49-50

Brothers in Trouble, Dan Georgakas, 22:4, 72

Buck, Roy Grundmann, 36.4, 80

Budrus, Adam Kasper, 36.1, 80

Bukowski: Born into This, Robert Sklar, 29:4, 46-47

Bullet for the General, A, Gary Crowdus, 37.4, 68

Burden of Dreams, David Sterritt, 31:1, 67-69

Burden of Dreams, Renee Shafransky, 12:4.54

Burmese HarpThe, Catherine Russell, 32.4 63-64.

Burn!, Calvin Green, 4:2, 35-36

Burn!, Gary Crowdus, 20:1, 54-55

Burnt by the Sun, Louis Menashe, 21:4, 43-44

Burroughs: The Movie, David Sterritt, 40.1, 80

Bus 174, Karen Backstein, 29:2, 27-28

Business of AmericaThe, Sheldon Sunness, 14:4, 40

Bye Bye Brazil, Dennis West, 32:4, 65

Bye Bye Brazil, Robert Stam, 11:1, 34-36

Byzantium, Jonathan Murray, 38.4, 53-55

Cabaret Balkan, Andrew Horton, 25:1, 44-46

Cabin in the Woods, The, David Sterritt, 38.1, 64-65

Cabinet of Dr. CaligariThe, Christopher Sharrett, 25:4, 48-49

Caché (Hidden), Christopher Sharrett, 31:1, 60-62 & 84

Camera Buff, Lenny Rubenstein, 11:1, 37-39

Camila, Karen Jaehne, 14:3, 46-47

Camille Claudel 1915, Christopher Sharrett, 39.1, 55–57

Camille Claudel, Susan Jhirad, 17:4, 42-43

Cancer WarThe, Dan Georgakas, 13:4, 29 & 53

CantanteEl, Karen Backstein, 32:4, 53-54

Capitalism: A Love Story, Gary Crowdus, 35.3, 50-52

Capote, Robert Sklar, 31:1, 57-58

Captain Phillips, Eric Kohn, 39.1, 51–53

Capturing Reality: The Art of Documentary, Deirdre Boyle, 35.2, 72-74

Carancho, Matt Losada, 36.3, 41-42

Career Girls, Leonard Quart, 23:2, 64

Carla’s Song, Jonathan Buchsbaum, 23:4, 52-53

Carla’s Song, Louis Menashe, 23:3, 64

Carnal Knowledge, Rocco Landesman, 5:1, 12-14

Carrie, David Rosen, 8:1, 37-40

Case of the Legless Veteran: James KutcherThe, Daniel Bickley, 11:3, 40

Casino Jack and the United States of Money, Robert Sklar,

Casino Jack, Robert Sklar, 36.2, 49-51

Casting By, James Naremore, 38.4, 49-51

Casualties of War, Cindy Fuchs, 17:3, 40-42

Ceddo, Udayan Gupta, 8:4, 37-38

Central Park Five, The, Maria Garcia, 38.1, 53-55

CeremonieLa, Royal S. Brown, 22:4, 50-51

Cerro Rico, tierra rica (Rich Mountain, Rich Land), Dennis West, 37.4, 80

Chacal de NahueltoroEl, Juan-Andres Racz, 4:3, 37-38

Chameleon Street, Clifford Thompson, 33:3, 66-67

Changeling, Robert Sklar, 34:1, 51-52

Changing Lanes, Saul Landau, 27:4, 40-41

Chant d’Amour, Un, Roy Grundmann, 32:3, 86

Chant of Jimmie BlacksmithThe, Udayan Gupta, 10:4, 37-38

Chaplin at Keystone, James L. Neibar, 36.2, 65-67

Chaplin, Thomas Doherty, 19:1, 75-77

Chariots of Fire, Lenny Rubenstein, 12:3, 40-41

Charlie Wilson's War, Robert Sklar, 33:2, 48-49

CheatThe, Thomas Doherty, 28:1, 46-48

Checkpoint, Amy Taubin, 29.4, 72.

Cherry OrchardThe, Dan Georgakas, 27:3, 64

Chess Player, The, Karen Backstein, 29:1, 76-77

Chicago Maternity Center StoryThe, Pat Aufderheide, 11:1, 42

Chicago, Thomas Doherty, 36.1, 58-59

Children of Chabannes, Alisa Lebow, 25:2, 64

Children of Labor, Dan Georgakas, 8:2, 45-46

Children of Men, Michael Joshua Rowin, 32.2, 60-61.

Children of the Left, Peter Bates, 17:3, 53-5-1

Children of the Revolution, Leonard Quart, 23:1, 64

Children Underground, Ryan Krivoshey, 27:1, 64

Chile: Hasta La Cuando?, Dennis West, 16:1-2, 78

China SyndromeThe, Gary Crowdus, 9:3, 45-47

Chinatown, Fred Kaplan, 6:3, 38-39

Chocolat, Peter Bates, 17:2, 52-53

Chris and Bernie, Renée Delforge, 7:1, 40-41

Chris and Don: A Love Story, David Pendleton 34:3, 80

Chronicle of a Summer, Phillip Lopate, 38.3, 54-55

Chuquiago, Julianne Burton, 9:3, 50-53

Church on Dauphine StreetThe, Michelle Robinson, 33:2, 88

Chushingara, Diane Stevenson, 25:3, 53-55

Cigarette Girl of Mosselprom, The, Louis Menashe, 37.1, 68

Cine Manifest, G.J. Buckell, 32:4, 61-62

Cinema Europe, James Monaco, 24:2-3, 87-88

Cinema Komunisto, George Carstocea, 36.4, 80

Cinematographer Style, John Calhoun, 34:3, 59-60

Circle of Deceit, Jonathan Chodosh, 12:2, 46 & 48

Circo, Theo Wulff, 36.4, 80

Citizen Kane, Courtney Lehmann, 27:2, 45

City Hall, Leonard Quart, 22:2, 44-45

City of God, Karen Backstein, 28:3, 39-40

City of Hope, Leonard Quart, 18:4, 44-46

Class Action, Cynthia Lucia, 18:3, 48-49

Cleo from 5 to 7, Royal S. Brown, 23:4, 56-57

Climates, Savas Arsian, 32:3, 54-55

Clockers, Leonard Quart, 21:4, 64

Clockwatchers, Richard Porton, 23:4, 64

Close-Up, Rahul Hamid, 36.1, 59-61

Clouds of Sils Maria, Graham Fuller, 40.2, 58–60

Clowns, The, Michael Joshua Rowin, 36.3, 56-57

Coal Miner’s Daughter, Gary Crowdus, 10:3, 32-33

Cobb, Marco Calavita, 21:1-2, 104

Cocalero, Dennis West, 33:3, 73

Code Black, Mary Bowen, 39.4, 80

Code Unknown, Leonard Quart, 27:2, 35-36

Cold Fever, John Fried, 22:2, 64

Color of MoneyThe, Ken Bazar and Larry Ceplair, 15:3, 41-42

Color of PomegranatesThe, Jonathan Rosenbaum, 27:3, 42-44

Color PurpleThe, Karen Jaehne, 15:1, 60

Columbia Pictures Film Noir Classics, Volume 1 (The Sniper5 Against the HouseMurder by ContractThe Lineup), Robert Cashill, 35.2, 75

Comes a Horseman, Betsy Erkkila, 9:2, 48-50

Comic Book Confidential, Dave Segal, 17:2, 44 & 46

Comic-Con: Episode IV–A Fan’s Hope, Robert Cashill, 37.3, 72

Coming to Light, Johnny Lorenz, 26:3, 72

Commissar, Louis Menashe, 33:1, 80

Common Man’s CourageA, Pat Aufderheide, 8:4, 50

Companeras and Companeros, Susan Sherman, 4:4, 26-27

Complete Jean Vigo, The, Richard Porton, 37.2, 62

Complete Mr. ArkadinThe, Sidney Gottlieb, 32:1, 62-63

Compliance, Robert Koehler, 37.4, 55-57

Comrades in Dreams, Rahul Hamid, 35.4, 60

Con Air, Cliff Thompson, 23:1, 64

Confession, The, Jonathan Kirshner, 40.4, 60–61

Confidence, Lenny Rubenstein, 11:2, 33-35

Confidence, Leonard Quart, 38.1, 70

Conformist, The, Deborah Young, 40.2, 63–65

Conspirator, The, Gary Crowdus, 36.4, 68

Constant FactorThe, Ernie Brill, 11:2, 30-31

Constantine's Sword, Michelle Robinson, 33:4, 88

Consuming Hunger, Paddy Quick, 17:3, 51-52

Contempt, Royal S. Brown, 28:3, 51-52

Control Room, Paul Arthur, 29:4, 44-46

Conversation Piece, David Sterritt, 37.3, 56-57

ConversationThe, Fred Kaplan, 6:3, 32

Conversations with Willard Van Dyke, Gordon Hitchens, 13:1, 22-24

Cook, The and Other Treasures, James L. Neibaur, 28.3, 54 & 61

CookThe Thief, His Wife and Her LoverThe, Leonard Quart, 18:1, 45-47

CorbeauLe, Alissa Quart and David Evans, 21:3, 54

Cordon, Marko Zivkovic, 32:3, 53-54

Corpo Celeste, Maria Garcia, 37.2, 46-47

CorporationThe, Lawrence Daressa, 29:4, 72

Cosmopolis, John DeCarli, 38.1, 55-57

Cottage on DartmoorA, Thomas Doherty, 33:2, 71

Cotton ClubThe, Steve Vineburg, 14:2, 10-11

Country, Alice Cross, 14:1, 40-42

Coup de Torchon, Hal W. Peat, 12:4, 49-50

Court, Aaron Cutler, 40.4, 52–54

Cousin Jules, Leo Goldsmith, 39.4, 69

Crash, Michael Sicinski, 30:4, 51-52

Cría cuervos, Dennis West, 33:2, 71

Cries and Whispers, Jeremy Carr, 40.3, 65–66

Crime to Fit the PunishmentA, Larry Ceplair, 13:3, 26-27

Crimes and Misdemeanors, Richard Allen, 17:4, 44-46

Crimson Gold, Rahul Hamid, 29:3, 49, 57

Cronos, Robert Cashill, 36.3, 61

Crouching Tiger, Hidden Dragon, Pauline Chen, 26:4, 71-72

Croupier, Ioannis Mookas, 25:4, 64

Crude Impact, Colin Root, 35.1, 88

Crumb, Richard Porton, 21:3, 64

Crumb, Richard Porton, 36.1, 66

Cry Freedom, Rob Nixon, 16:3, 38-39

Cuba Va!, Susan Sherman, 4:4, 26-27

Cuba, Robert Stam, 10:2, 41-42

Cul-de-Sac, Christopher Sharrett, 28:2, 64

Cul-de-Sac, David Sterritt, 37.1, 62-63

Curtis Harrington Short Film Collection, The, Jared Rapfogel, 38.4, 67

Cutie and the Boxer, Frankie Vanaria, 38.4, 80

Cutting Up Old Touches, Dan Georgakas, 7:3, 41-42

CycleThe, Udayan Gupta, 9:3, 49-50

Cyprus: Still Divided, Dan Georgakas, 37.3, 72

Cyrano de Bergerac, Joan M. West, 18:2, 37-39

D.O.A., Jim Farber, 11:3, 36-37

Damages, Robert Ribera, 34:2, 96

Dancer UpstairsThe, Karen Backstein, 28:4, 46-47

Dances with Wolves, Dan Georgakas, 18:2, 51-53

Dangerous Liaisons, Joan M. West, 17:2, 55-56

Daniel, Karen Jaehne, 13:2, 35-37

Danton, Lenny Rubenstein, 13:1, 36-37

Dark Days, Simeon Hutner, 26:1, 72

Dark Side of the Moon, The, Tony Pipolo, 30.3, 88.

Daughter Rite, Ruth McCormick, 10:2, 45

David Hockney: A Bigger Picture, Caroline Elliott, 36.1, 80

David Holzman’s Diary, Michael Atkinson, 37.1, 64-66

Day in the Country, A, Cynthia Lucia, 40.3, 71

Day of the JackalThe, Lenny Rubenstein, 6:1, 49

Days of Heaven, David Sterritt, 33:3, 62-64

DC III, Lenny Rubenstein, 5:4, 48-50

Dead Man Walking, Christy Rodgers, 22:2, 42-43

Dead Man, Kent Jones, 22:2, 45-46

Dead Poets Society, Burns Raushenbush, 17:3, 43-44

Dead, The, David Sterritt, 35.2, 71-72

Death and the Maiden, Richard Porton, 21:1-2, 104

Death Is Afraid of Us, Dan Georgakas, 13:1, 25-26

Death of Mr. LazarescuThe, Robert Sklar, 31:3, 62-63

Death Wish, Ruth McCormick, 6:3, 37-38

DecalogueThe, Richard Porton, 26:3, 48-50

Decent One, The, Stuart Liebman, 40.1, 47–48

Decline of the American Empire, Robert Sklar, 15:2, 46-47

Deep Blue Sea, The, Jonathan Murray, 37.3, 45-47

Deep Crimson, Steve Erickson, 23:2, 64

Deep End, Richard Porton, 37.1, 68

Dennis Potter: The Last Interview, Leonard Quart, 22:2, 54-55

Derek, Roy Gundmann, 34:1, 71

Descendants, The, Rahul Hamid, 37.2, 50-51

Desert of Forbidden Art, The, Louis Menashe, 36.3, 72

Design for Living, Maria Garcia, 37.3, 58-59

Deuxieme souffleLe, Robert Cashill, 34.2, 85

Devil Came on HorsebackThe, Robert Ribera, 33:1, 96

Devil in a Blue Dress, Ed Guerrero, 22:1, 38-41

Devil Wears PradaThe, Martha P. Nochimson, 32:1, 48-50

Devil’s Backbone, The, David Archibald, 39.2, 55–56

Devil’s Needle & Other Tales of Vice and Redemption, The, Thomas Doherty, 38.1, 61-       63

Diamonds in the Night, Leonard Quart, 35.4, 60

Diary of a Lost Girl, Thomas Doherty, 40.2, 70

Diary for TimothyA, Leonard Quart, 20:3, 63-64

Diary of the Dead, Thomas Doherty, 33:3 58-60

Dick Tracy, Christopher Sharrett, 18:1, 49-51

Die “Oberhausener,” Richard Porton, 38.1, 70

Die Nibelungen, Robert Cashill, 38.3, 63

Dirty Dancing, Al Auster, 16:3, 45-47

Dirty Harry SeriesThe Robert Cashill, 27:3, 38-39

Disco and Atomic War, Catherine Martin, 36.3, 72

Disgraced Monuments, Louis Menashe, 23:2, 43-44

Distant Thunder, Chris Schemering, 7:2, 38-39

Distant Voices, Still Lives, Leonard Quart, 17:3, 42-43

Distant, Savas Arsian, 32:3, 54-55

Divorce Italian Style, Jared Rapfogel, 31:1, 66-67

Django Unchained, Clifford Thompson, 38.2, 56-57

Dmitri Shostakovich: Sonata for Viola, Royal S. Brown, 32:2, 67-69

Dogora, Cynthia Lucia, 35.3, 58

Dogtooth, Dan Georgakas, 35.3, 48-49

Dogville, Robert Sklar, 29:3, 47-49

Domestic Violence, Saul Austerlitz, 27:3, 64

Donnie Brasco, Tom Doherty, 23:1, 42-43

Don’t Look Now, Robert Cashill, 40.3, 71

Dossier 51, Dan Georgakas and Lenny Rubenstien, 9:2, 43-44

Double DayThe, Judy Janda, 8:2, 51-52

DoulosLe, Robert Cashill, 34:2, 85

Down and Dirty, Gina Blumenfeld, 10:1, 54-55

Down to the Sea in Ships, Thomas Doherty, 28:1, 46-48

Dr. Jekyll and Mr. Hyde, Robert Cashill, 39.3, 70

Dracula, Robert Cashill, 38.4, 60-62

Drancy Avenir, Stuart Liebman, 35.1, 72-74

Drive, He Said, Joan Mellen, 5:2, 26-31

Driving Miss Daisy, Pat Dowell, 18:1, 42-43

Drugstore Cowboy, Cindy Fuchs, 18:1, 43-45

Duch: Master of the Forges of Hell, Deirdre Boyle, 39.1, 64–65

Duchess of LangeaisThe, Michael Sicinski, 33:3, 56-58

Duck Season, Karen Backstein, 31:3, 60-62.

Dusan Makavejev: Free Radical (Man is Not a BirdLove Affair, or the Case of the Missing Switchboard OperatorInnocence Unprotected), Richard Porton, 35.2, 75

Dust, Robert Ribera, 33:4, 88

Dusty and Sweets McGee, Robert Cashill, 34:4, 63

EarThe, Leonard Quart, 33:2, 71

Early Fassbinder, Roy Grundmann, 39.1, 68

East Side Story, Louis Menashe, 23:2, 43-44

East-West, Louis Menashe, 25:3, 64

Eccentricities of a Blonde-Haired Girl, Nathaniel Drake Carlson, 35.4, 48-49

Edison: The Invention of the Movies, Rahul Hamid, 30:4, 66-67

Effie Gray, Darragh O’Donoghue, 40.3, 53–55

El velador (The Night Watchman), Dennis West, 37.3, 72

Election, Tom Doherty, 24:4, 36-37

Electric ValleyThe, Susan Ohmer, 13:4, 28-29

Elegy, Robert Sklar, 33:4, 50-52

Elemental, Jason Michelitch, 38.4, 80

Eleni, Dan Georgakas, 14:4, 49-51

Elephant ManThe, Henry Baker, 11:2, 28-29

Elite Squad, Karen Backstein, 33:4, 55-56

Elizabeth, Kenneth S. Rothwell, 24:2-3, 78-80

Empathy, Tony Pipolo, 29:3, 72

Emperor JonesThe, Ed Guerrero, 21:1-2, 100-101

Encirclement: Neo-Liberalism Ensnares Democracy, Richard Porton, 35.1, 76

Enfants TerriblesLes, David Sterritt, 33:2, 60-61

English Teacher, The, Travis Maiuro, 39.1, 59–60

Enormous Changes at the Last Minute, Leonard & Barbara Quart, 14:3, 28-29

Enthusiasm, G.J Buckell, 32:1, 72

Entre Nous, Barbara Quart, 13:3, 45-47

Erendira, Robert Stam, 13:4, 50-52

Erin Brockovich, Thomas Doherty, 25:3, 40-41

Eroica, Stuart Leibman, 32:2, 62-64

Eternal Memory: Voices from the Great Terror, Louis Menashe, 25:1, 64

Eternity and a Day, Dan Georgakas, 24:4, 64

Ethnic Notions, Thomas Cripps, 17:1, 21-22

Eurocrime! The Italian Cop and Gangster Films That Ruled the ’70s, Robert Cashill, 40.1, 67

Europa, Europa, Hank Heifetz, 18:4, 51-52

Every Little Thing, Richard Armstrong, 32:1, 68-69

Every Man for Himself, Dan Georgakas, 10:4, 7-9

Everyday People, Lenny Quart, 29:4, 72

Everyday Sunshine: The Story of Fishbone, Legacy Lee, 36.1,

Everyone Says I Love You, Leonard Quart, 22:4, 72

Évocateur: The Morton Downey Jr. Movie, Austin Morris, 38.4, 80

Examined Life, Michael Sicinski, 34:3, 43-45

Exhibition, Doris Toumarkine, 7:2, 42-43

Exiles, The, Jared Rapfogel, 35.2, 75

ExilesThe, Leonard Quart, 17:4, 31

Exotica, Alissa Quart, 21:3, 64

Exterminating AngelThe, Karen Backstein, 34:4, 56-58

Extreme Private Eros: Love Song 1974, Paul Arthur, 32:4, 65

Eye of VichyThe, Leonard Quart, 22:3, 47

Eyes Wide Shut, Cynthia Lucia, 33:2, 71

Eyes without a Face, Robert Cashill, 30:3, 74-75

Face to Face, Martha P. Nochimson, 37.1, 68

Faces, Leonard Quart, 34:3, 62

Fall of BerlinThe, Louis Menashe, 32:2, 78

Fallen IdolThe, Leonard Quart, 32:2, 78

Falling Down, Tom Doherty, 20:1, 39-41

Fame, Al Auster, 10:1, 34-35

Family Nest, Jared Rapfogel, 31:2, 62-64

Family Plot, Al Auster, 7:3,39-40

Famine WithinThe, Cynthia Lucia, 15:4, 43

FanThe, Cynthia Lucia, 22:3, 64

Fanny and Alexander, Royal S. Brown, 30:3, 76-77

Fanny Trilogy: Marius, Fanny, Cesar, Monty Schiff, 20:1, 55

Far From Heaven, Robert Sklar, 28.2, 38-39

Far from Vietnam, Christopher Sharrett, 39.2, 52–54

Farewell, My Queen, Joan M. West, 37.4, 51-53

Fargo, Thomas Doherty, 22:2, 47 & 55

Fat Girl, Richard Porton, 36.4, 68

Fatal Attraction, Debrah Raschke, 16:3, 44-45

Fateless, Leonard Quart, 31:3, 59-60

Father, Leonard Quart, 37.1, 68

Fear and Favor in the Newsroom, Marco Calavita, 22:4, 56-57

Fear and Loathing in Las Vegas, Christopher Sharrett, 23:4, 64

FearThe, Elizabeth Hess, 10:3, 21

Fedora, Robert Stam, 10:1, 55-56

Felicia’s Journey, Richard Porton, 25:1, 42-43

Fellini Satyricon, Joseph Yanick, 40.3, 69–70

FidanzatiI, Peter Bondanella, 29:1, 73-74

Fidel, Dennis West, 38.1, 70

Fidel, Susan Sherman, 4:3, 38-39

Fighter, Leonard Quart, 27:1, 64

Fighting for Life, Sarah Leventer, 33:3, 88

Film Music Masters: Jerry Goldsmith, Gary Crowdus, 22:1, 55-56

Films of Kenneth AngerThe, Jared Rapfogel, 32:3, 86

Final Chapter—Walking Tall, David Bartholomew, 8:3, 49-51

Fire WithinThe, David Sterritt, 34:1, 62-65

Fires on the Plain, Catherine Russell, 32:4, 63-64

First Kill, Tony Pipolo, 28:4, 72

Fisher KingThe, Pat Dowell, 18:4, 46-47

Fists in the Pocket, Robert Koehler, 32:2, 74-75

Fitzcarraldo, Hans Köning, 12:4, 42-43

Five Films by INCINE, Dennis West, 15:3, 26

Flag Wars, Leonard Quart, 28:4, 72

Flags of our Fathers, Robert Sklar, 32:2, 44-46

Flapper StoryThe, Dan Bickley, 15:2, 40-41

FlashettesThe, Ruth McCormick, 8:2, 51

Flesh Gordon, David Bartholomew, 6:4, 46

Flow: For Love of Water, Isaac Goldstein, 34:1, 88

Fog of WarThe, Thomas Doherty, 29:1, 19-21

Fool There WasA, Thomas Doherty, 28.1, 46-48

Foolish Wives, Darragh O’Donoghue, 39.1, 66–67

Foolish Wives, John Calhoun, 29:2, 78-79

For All Mankind, Diana Wade, 34:4, 63

For the Bible Tells Me So, Maria San Filippo, 33:2, 88

For the Love of Movies: The Story of American Film Criticism, Adam Nayman, 35.2, 70-71

Forbidden Games, Leshu Torchin, 32:1, 66-68

Forbidden Lie$, Adrien Martin, 34:4, 52-53

Forbidden Planet, Robert Cashill, 32:2, 78

Forbidden Threshholds, Melissa Clark, 9:4, 38

Forever, Tony Pipolo, 33:1, 96

Forgotten Man, The: Private Bradley Manning and the Wikileaks Controversy, Catherine Martin, 37.1, 80

Forgotten Silver, Andrew Horton, 26:3, 55

ForwardThe, Susan Jhirad, 17:3, 52-53

Four Hundred BlowsThe, Gary Crowdus, 20:3, 64

Four Hundred BlowsThe, Paul Sawyer, 1:3, 24 & 28

Four Lions, Juliet Jacques, 36.2, 55-57

Fox and His Friends, Ruth McCormick, 7:2, 43-44

Fragments of Kubelka, David Pendleton, 38.4, 80

Frame-Up: The Imprisonment of Martin Sostre, Dan Georgakas, 6:3, 33-34

Frances, Burns Raushenbush, 12:4, 44-45

François Truffaut: 25 Years, 25 Films, Gary Crowdus, 20:3, 64

FrauleinDas, David Fleming, 32:3, 64

Free Voice of Labor: The Jewish Anarchists, Lenny Rubenstein, 10:3, 49

Freedom on My Mind, Paul Arthur & Janet Cutler, 21:1-2, 81-82

French ConspiracyThe, Lenny Rubenstein, 6:2, 54-55

Frida, Joan M. West and Dennis West, 28.2, 39-41

Frida: Naturaleza Viva, Joan & Dennis West, 16:4, 46-47

Friend of the DeceasedA, Louis Menashe, 23:4, 64

Friends of Eddie Coyle, The, Robert Cashill, 40.4, 68

Friendly Persuasion: Iranian Cinema After the Revolution, John Watson, 26:4, 96

Fringe DwellersThe, Annabelle Sheehan, 15:4, 52-53

From Hell, Carl Bromley, 27:1, 36-37

From Hollywood to Hanoi, Gitta Reddy, 20:3, 45-46

From the Edge of the City, Aaron Krach, 25:4, 64

FrontThe, Peter Biskind, 7:4, 44-45

Front, The, Thomas Doherty, 39.4, 62–63

Frontline, Lenny Rubenstein, 10:4, 39

Frontrunners, Leonard Quart, 34.2, 96

Frost/Nixon, Thomas Doherty, 34.2, 68-71

Fuel, Roy Grundmann, 35.4, 72

Full Metal Jacket, Christopher Sharrett, 16:1-2, 64-65

Fundi: The Story of Ella Baker, Gary Crowdus, 11:3, 39-40

Funny Games, Robert Koehler, 33:2, 55-57

Funny Games, Steve Erickson, 23:4, 64

FuriesThe, Jared Rapfogel, 33:4, 69

Future of FoodThe, Deirdre Boyle, 30:3, 88

Gabbeh, Steve Erickson, 23:1, 64

Gadjo Dilo, Dimitra Kessenides, 23:4, 64

Galaxy Far, Far Away, A, Steven Berndt, 27:2, 64

Gallipoli, Karen Jaehne, 11:4, 40-43

GamekeeperThe, Melanie Wallace, 10:4, 30

Gandhi, Udayan Gupta, 12:4, 45-46

Gandhi, Udayan Gupta, 32.3, 82-84,

Garbage Dreams, David A. Brown, 35.3, 72

GardenThe, Leonard Quart, 34:3, 80

Gardens of Stone, Thomas Doherty, 16:1-2, 67-68

Gas Food Lodging, Alice Cross, 20:2, 55

Gatekeepers, The, Terri Ginsberg, 38.3, 48-50

Gay-Themed Films of the German Silent Era, Roy Grundmann, 31:1, 63-66

General Della Rovere, Darragh O’Donoghue, 39.2, 54–55

GeneralThe, James L. Neibaur, 34:3, 58-59

Generation X-Saddam, Anthony Arnove, 29:2, 80-81

Generations of Resistance, Tom Brom, 10:2, 45 & 58

Genius Within: The Inner Life of Glenn Gould, Mark Hennessey,

George Méliès: First Wizard of Cinema (1896-1913), James L. Neibaur, 33:4, 66-68

Georgia, Kent Jones, 22:1, 37-38

Georgie Girl, Amy Taubin, 29:1, 96

Germany in Autumn, Ruth McCormick, 9:3, 53-54

Germany, Pale Mother, Stuart Liebman, 25:1, 51-52

Getting of Wisdom, The, Leonard Quart, 37.4, 68

Ghosts of Attica, Janet Cutler, 28:1, 64

Ginger & Rosa, Jonathan Murray, 38.3, 41-43

Girl Friends, James Monaco, 9:1, 39-41

Girl Model, Logan Lumm, 38.1, 80

Girl on the Train, The, Robert Sklar, 35.3, 43-45

Girl, Interrupted, Alice Cross, 25:3, 48-49

Girls in the Band, The, Mary Bowen, 39.3, 80

Girls Town, Mia L. Mask, 23:3, 58-60

Glory, Thomas Doherty, 17:4, 40-41

Go, Joe Riley, 25:1, 54

Godfather Part IIThe, Leonard Quart and Albert Auster, 6:4, 38-39

Godfather Part IIIThe, Karen Jaehne, 18:2, 41-43

Gods and Generals, Christopher Sharrett, 28:3, 36-38

Gods Must Be CrazyThe, Peter Davis, 14:1, 51-53

Good Bye, Lenin!, Christina M. White, 29.3, 46-47.

Good Day Care: One Out of Ten, Ruth McCormick, 10:1, 56

Good FightThe, Gary Crowdus, 13:4, 26-28

Good FightThe, Gary Crowdus, 33:4, 69

Good Kurds, Bad Kurds, Cleo Cacoulidis, 26:1, 72

Good ShepherdThe, Robert Sklar, 32:3, 68-71

Goodbye Columbus, James Irons, 3:1, 18-20

Goodbye Solo, Michael Joshua Rowin, 34:3, 47-49

Goodfellas, Leonard Quart, 18:2, 43-45

Goodnight and Good Luck, Thomas Doherty, 31:1, 53-56

Gordon’s War, Paula Hankins, 6:2, 47-48

Gore Vidal: The United States of Amnesia, Frankie Vanaria, 39.4, 80

Gosford Park, George Rafael, 27.3, 30-31

Gran FiestaLa, Catherine Benamou, 16:4, 47-48

Grand Budapest Hotel, The, Michael Sicinski, 39.3, 52–53

Grand Prix, Gary Crowdus, 1:1, 27 & 29

Granito: How to Nail a Dictator, Dennis West, 37.1, 55-57

Grapes of Wrath, The, John Calhoun, 30:1, 51-52

Gravehopping, Andrew Horton, 32:3, 58-59

Grbavica, Meta Mazaj, 32:3, 61-62

Grease, Al Auster, 9:1, 41-42

Greased Lighting, Pat Aufderheide, 8:2, 48

Great Gatsby, The, Thomas Doherty, 38.4, 45-47

Greek American Radicals: The Untold Story, Vicki James Yiannias, 38.3, 72

Green Card, Andrew Horton, 18:3, 53 & 45

Green WallThe, Denis West, 18:3, 57 & 59

Gridlock’d, Jesse Rhines, 22:4, 72

Grido, Il, Richard Porton, 21:1-2, 101

GridoIl, Robert Koehler, 34:4, 54-56

Grin Without a CatA, Ryan Krivoshey, 27:3, 64

Grizzly Man, Conrad Geller, 31:1, 52-53

Guantanamera, Louis Menashe, 23:2, 64

Guard Dog, Rahul Hamid, 32:3, 86

Guelwaar, Françoise Pfaff, 20:2, 48-49

Guerre est finieLa, Andrew Lugg, 1:1, 12-13

Guerre est finieLa, Richard Porton, 26:4, 80-81

Guerrillas In Our Midst, Cynthia Lucia, 20:1, 47-48

Guide Dog, Rahul Hamid, 32:3, 86

Guilty by Suspicion, Larry Ceplair, 15:3, 46-47

Gung Ho, Jim Naureckas, 15:1, 44-45

Gut Renovation, Roy Grundmann, 38.2, 80

H-2 Worker, Jason Kliot, 18:1, 28-29

Hacking Democracy, Colin Root, 32:4, 80

HaineLa, Joan M. West, 33:1, 76-77

Hair, Al Auster, 9:3, 55-56

Half Nelson, Leonard Quart, 32:1, 56-58

Halfaouine, Nana Asfour, 29:4, 59

Hamlet (Laurence Olivier version), Gary Crowdus, 22:3, 46-47

Hamlet (Michael Almereyda version), Martha Nochimson, 25:4, 37-38

Hamlet, Royal S. Brown, 31:1, 69-71

Hands Over the City, Gary Crowdus, 32:1, 73

Hanoi HiltonThe, Rob Edelman, 15:4, 49-50

Happiness, Cynthia Lucia & Ed Kelleher, 24:2-3, 80-83

Happy BirthdayMrs. Craig, Dan Georgakas, 10:4, 39-40

Happy-Go-Lucky, Jonathan Murray, 33:4, 52-55

Harakiri, Adam Bingham, 37.4, 59-61

Hard Core, Dan Georgakas, 9:3, 48-49

Harder They ComeThe, Steven Kovacs, 6:2, 46-47

Harlan County, U.S.A., Gary Crowdus, 8:1, 46-47

Harlan: In the Shadow of Jew Süss, Eric Rentschler, 35.4, 44-45

Harold and Kumar Escape from Guantanamo Bay, Rahul Hamid, 33:4, 57-58

Harper Lee: From Mockingbird to Watchman, Mary Bowen, 40.4, 80

Harry Bridges: A Man and His Union, Robert Bruno, 21:3, 48-49

Harvard Beats Yale 29-29, Louis Menashe, 34:2, 96

Head On, Alisa Lebow, 30:3, 60-61

Head On, Cleo Cacoulidis, 24:4, 64

Headless Woman, The, Karen Backstein, 35.1, 64-65

Healthcaring, Renée Delforge, 8:3, 55

Heart Like a Wheel, Angela Bonavoglia, 13:2, 45-47

Heartbeat Detector, Megan Ratner, 33:3, 54-56

Heartburn, Rob Edelman, 15:2, 45-46

Heartland, Judith Gustafson, 12:1, 57-58

Hearts & Minds, James Monaco, 28:3, 52-54

Hearts and Minds, Peter Biskind, 7:1, 31-32

Hearts of Darkness: A Filmmaker's Apocalypse, Paul Arthur, 33:2, 71

Heaven and Earth, Pat Dowell, 20:3, 56-57

Heaven Can Wait, Pat Aufderheide, 9:1, 38-39

Heaven’s Gate, Christopher Sharrett, 38.2, 58-60

Heavenly Creatures, John Fried, 21:4, 51

Heir to an Execution, Art Simon, 29:4, 72

Hell House, David Sterritt, 28:1, 64

Hell House, Heather Hendershot, 28:2, 43-44

Help, The, Page R. Laws, 36.4, 56-58

Henri-Georges Clouzot’s Inferno, George Carstocea, 36.3, 72

Henry V (Laurence Olivier version), Gary Crowdus, 22:1, 54-55

Her, Aaron Cutler, 39.3, 54–55

Herbert’s Hippopotamus, Richard Porton, 23:3, 64

Heremakono (Waiting for Happiness), Larry Daressa, 28:4, 72

HereticsThe, Sarah Leventer, 35.2, 88

Herman’s House, Jason Michelitch, 38.3, 72

Hero, Pauline Chen, 30:1, 40-42

Hidden Wars of Desert Storm, Maria San Filippo, 26:4, 96

Hide in Plain Sight, Al Auster and Leonard Quart, 10:3, 37-38

High Fidelity, Thomas Doherty, 26:1, 50-51

High Ground, Frankie Vanaria, 38.3, 72

High Hopes, Leonard Quart and Barbara Quart, 17:2, 56-57 & 47

Hijacking, A, Eric Kohn, 39.1, 51–53

Hill 24 Doesn’t Answer, Leonard Quart, 16:3, 57 & 55

Hipsters, Louis Menashe, 38.3, 63

Hiroshima mon amour, Royal S. Brown, 29:1, 75-76

Histoire(s) du Cinema, Darragh O’Donoghue, 37.2, 58-59

History BookThe, Lenny Rubenstein, 6:4, 44

History of Israeli Cinema, A, Leonard Quart, 35.2, 88

Hitler’s Children, Stuart Liebman, 39.1, 80

Hoffa, Paul Arthur, 19:1, 81

Hole in the FenceA, Rahul Hamid, 34:4, 63

Hollywood Shuffle, Rob Edelman, 16:1-2, 71-72

Hollywood, D.C.: A Tale of Two Cities, Art Simon, 27:2, 64

Hollywoodland, Thomas Doherty, 32:1, 52-54

Holy GirlThe, Martin Tsai, 30:4, 54-56

Home Free All, Karen Jaehne, 13:3, 42 & 44

Home Less Home, Paul Arthur, 18:3, 43-44

Homecoming, Clifford Thompson, 25:2, 47

Hoop Dreams, Leonard Quart, 21:1-2, 104

Hora de los HornosLa, Kalman J. Barsy, 4:2, 37-40

Hotel Rwanda, Leshu Torchin, 30:2, 46-48

Hotel Terminus, Lenny Rubenstein, 17:1, 37-38

Hour of the StarThe, Dennis West and Joan M. West, 15:4,43-44 & 46

Hours and TimesThe, Justin Wyatt, 20:2, 54

House of Mirth, Martha Nochimson, 26:2, 41-43

House on Carroll StreetThe, Larry Ceplair, 16:4, 46-47

House Party, Bruce Alfred, 18:1, 23-24

Houses Are Full of SmokeThe, Dennis West, 17:3, 51

Human Capital, Darragh O’Donoghue, 40.2, 55–57

Human Condition, The, Catherine Russell, 35.3, 53-55

Human Remains, Lawrence Daressa, 29:3, 72

Human Resources, Adele Madelo, 26:1, 72

Hurry Tomorrow, Phil Brown, 7:3, 35-36

Hurt Locker, The, Robert Sklar, 35.1, 55-56

Husbands and Wives, Barbara & Leonard Quart, 19:1, 74-75

Hyenas, Richard Porton, 23:2, 51

I Am Cuba, Dennis West, 22:2, 52

I Am Cuba: The Ultimate Edition, Rahul Hamid, 33:2, 64-65

I Am Love, Megan Ratner, 35.3, 41-43

I Can’t Sleep, Steve Erikson, 21:4, 64

I Love You, I Love You Not, Cynthia Lucia, 23:2, 64

I Married a Witch, David Sterritt, 39.2, 50–52

I Shot Andy Warhol, Steve Erickson, 22:2, 64

I Take the Floor, Claudia & Peter Fonda-Bonardi, 10:2, 42-44

I Was a Teenage Movie Maker, Robert Cashill, 32:1, 73

I'm Not There, Richard Porton, 33:1, 56-57

I’ve Heard the Mermaids Singing, Cindy Fuchs, 18:3, 54-55

Ice StormThe, Robert Sklar, 23:2, 41-42

Ice, Joan Mellen, 4:2, 29-33

Ice, Lenny Rubenstein, 4:2, 28-29

Identification of a Woman, Frank P. Tomasulo, 37.2, 56-58

Idiocracy, Robert Cashill, 32:4, 65

If a Tree Falls, William West, 39.1, 80

If Ever I See You Again, David Bartholomew, 8:4, 40-41

If It BleedsIt Leads, Lynne Jackson, 16:1-2, 80

If..., Jesse Prima, 2:4, 19-20

If…, Richard Porton, 33:1, 80

Image Before My Eyes, Leonard Quart, 11:3, 40

Image of an Assassination, Art Simon, 24:1, 83-84

Images from the Qajar Dynasty, Rahul Hamid, 27:1, 41

Immigrant, The, Robert Koehler, 39.4, 60–61

Imported BridegroomThe, Peter Bates, 18:1, 25-26

Improper Conduct, Dan Georgakas, 14:1, 45-48

In a Better World, Robert Sklar, 36.3, 47-49

In Dark Places: Remembering the Holocaust, Lenny Rubenstein. 10:1, 57

In Darkest Hollywood, Cassandra Ellis, 21:1-2, 87-88

In Memoriam: Alexander Litvinenko, Louis Menashe, 32:4, 80

In My Country, Melanie Unruh, 30:2, 80

In Our Hands, Barbara & Leonard Quart, 13:3, 28

In the Company of Men, Paul Arthur, 23:2, 40-41

In the House, Cynthia Lucia, 39.2, 59

In the Loop, Susan L. Carruthers, 35.1, 57-58

In the Mood for Love, Paul Arthur, 26:3, 40-41

In the Name of the Father, Martin McLoone, 20:4, 44-47

In the Name of the Pope-King, Robert Sklar, 16:4, 22

In the Presence of a Clown, Leonard Quart, 24:1, 96

In the Year of the Pig, Robert Koehler, 31:2, 64-66

Inconvenient TruthAn, Pat Aufderheide, 32:1, 50-52

Incredibly True Adventure of Two Girls in LoveThe, Frann Michel, 21:4, 46

Independence Day, Pat Dowell, 22:3, 39-41

Independents Day, Clifford Thompson, 23:3, 64

Indochine, Kim Worthy, 20:1, 38-39

Inglourious Bastards, Thomas Doherty, 35.1, 59-61

Inherent Vice, Adam Nayman, 40.2, 50–51

InheritorsThe, Pat Dowell, 24:1, 96

Innocence Unprotected, Stuart Liebman, 20:1, 55

Innocence, Michael Joshua Rowin, 31:2, 59-61

Innocent Sorcerers, Leonard Quart, 38.2, 67

Innocents, The, Declan McGrath, 40.1, 61–63

Inside Deep Throat, Tom Doherty, 30:3, 61-63

Inside Llewyn Davis, David Sterritt, 39.2, 38–40

InternationaleThe, Dan Georgakas, 27:2, 64

Interrogation, Richard Porton, 33:4, 69

Interrupters, The, Andrew Schenker, 36.4, 60-61

InterviewThe, Robert Cashill, 28:1, 51

Intimate Lighting, Leonard Quart, 32:3, 86

Into Great Silence, Paul Arthur, 32:3, 71-73

Intolerance, Phillip Lopate, 28:3, 49-50

Introduction to Chile, Marvin Surkin, 6:2, 52-53

IntruderThe, Jared Rapfogel, 32:2, 78

Invasion of the Body Snatchers, David Bartholomew, 10:1, 52-54

Investigation of a Citizen Above Suspicion, Gary Crowdus, 39.2, 47–49

Invisible War, The, Susan L. Carruthers, 37.4, 48-49

Ira, You’ll Get Into Trouble, Bob Summers, 4:3, 41

Irish Destiny, Michael Gray, 36.1, 64-65

Iron Lady, The, Susan L. Carruthers, 37.2, 51-52

Ironside, Donald G. Jackson, 1:1, 11-12

Island of Lost Souls, Robert Cashill, 37.2, 62

Island of Saints and Souls, Andrew Horton, 18:2, 32

It Happened Here, Nicole McCormick, 40.3, 80

Ivan the TerribleParts I and II, Tony Pipolo, 28:1, 42-44

Ivan’s Childhood, Louis Menashe, 38.3, 57-58

Ivory Tower, Victoria Quamme, 39.4, 80

J. Edgar, Christopher Sharrett, 37.3, 57-58

J’Accuse, Stuart Liebman, 34:1, 67-70

Jack Pierce: The Man Behind the Monsters, Robert Cashill, 28:3, 48-49

Jackal of Nahueltoro, The, Dennis West, 32:3, 86

Jackson County Jail, Peter Biskind, 7:3, 36-37

Japanese Summer: Double Suicide, Adam Bingham, 36.1

Jauja, Richard Porton, 40.3, 59–60

Jean de Florette, Susan Jhirad, 16:1-2, 68-69

Jean Grémillon During the Occupation, Graham Fuller, 38.1, 65-68

Jean Renoir 3 Disc Collector's Edition, Joseph McBride, 33:1, 68-70

Jeanne Dielman23, Quai du Commerce, 1080 Bruxelles, Royal S. Brown, 35.1, 66-67

Jerry Maguire, Marco Calavita, 22:4, 72

Jesus Camp, Michelle Robinson, 32:1, 88

Jews and Baseball: An American Love Story, Art Simon,

Joan Miro: Theatre of Dreams, Gail Levin, 18:2, 33

Joanna, Stuart Liebman, 40.3, 80

Joe Bob Briggs Dead in Concert, Gary Crowdus, 16:4, 56

Joe, Joan Mellen, 5:2, 26-31

John Ford Film CollectionThe, Chris Fujiwara, 32:2, 70-71

John Heartfield, Photomontagist, Lenny Rubenstein, 12:1, 59

John Wayne-John Ford CollectionThe, Chris Fujiwara, 32:2, 70-71

Johnny Got His Gun, Joan Mellen, 5:2, 26-31

JokeThe, Leonard Quart, 28:4, 60-61

Journey: The Greek American DreamThe, Angelike Contis, 34:4, 80

Judgment at Nuremberg, Thomas Doherty, 30.2, 57-59

Judy Berlin, Leonard Quart, 25:2, 64

Jules and Jim, Gary Crowdus, 20:3, 64

Julia, Peter Biskind, 8:3, 53-54

Juliet of the Spirits, Peter Bondanella, 27:4, 48-50

Jung: In the Land of the Mujaheddin, Grover Furr, 27:1, 64

Kadosh, Leonard Quart, 25:3, 64

Kagemusha: The Shadow Warrior, Gary Crowdus, 10:4, 9-10

Keep the Lights On, Michael Bronski, 38.1, 51-53

Keepers of the Frame, Simeon Hutner, 25:3, 64

Kes, Oliver Pattenden, 36.4, 63-64

Khodorkovsky, Louis Menashe, 37.2, 72

Kid Stays in the PictureThe, Robert Sklar, 28:1, 37-38

Kill Bill, Vol. 1, Christopher Sharrett, 29.2, 96.

Kill Team, The, Molly Rokosz, 39.4, 80

Killer's Paradise, Sarah Leventer, 33:4, 88

Killing FieldsThe, Susan Jhirad, 14:1, 50-51

Kimjongilia: The Flower of Kim Jong II, Thomas Doherty, 35.1, 88

Kind Hearts and Coronets, David Sterritt, 31:3, 66-68

Kinderblock 66: Return to Buchenwald, Stuart Liebman, 39.2, 72

King Lear, Kenneth Rothwell, 32:3, 80-82

King of Comedy, The, Cynthia Lucia, 39.3, 70

King of the Hill, Eric Kohn, 39.3, 63–64

Kiss of the Spider Woman, Robert Sklar, 14:3, 38-39

Knightriders, Ed Sikov, 11:3, 31-33

Koch, Leonard Quart, 38.2, 80

Kolonel Bunker, Gareth Jones, 32:3, 52-53

Kolya, Louis Menashe, 22:4, 72

Kramer vs. Kramer, Leonard and Barbara Quart, 10:2, 37-39

L.A. Confidential, Cliff Thompson, 23:2, 64

L.A. Confidential, Paul Arthur, 23:3, 41-43

L’Age d’or, Randall Conrad, 30:4, 64-65

L’Avventura, Phillip Lopate, 27:1, 44-45

L’Eclisse, Christopher Sharrett, 30:3, 69-70

L’Enfance nue, Jared Rapfogel, 36.1, 66

L’Udienza, Alberto Cattini, 6:2, 55-56

La Captive, George Rafael, 27:1, 33-34

La Ciénaga, Aaron Cutler, 40.3, 66–67

La Dolce Vita, James Monaco, 30:2, 64-65

La Rafle, Sandy Flitterman-Lewis, 36.4, 51-54

Lady Chatterley, Michael Sicinski, 32:4, 46-48

Lady EveThe, Martha Nochimson, 27:3, 40-42

Lady Vengeance, Robert Cashill, 31:3, 57-59

Lady with the DogThe, Louis Menashe, 34:3, 62

Ladybird, Ladybird, Leonard Quart, 21:1-2, 84-85

Land and Freedom, Richard Porton, 22:1, 32-34

Landscape Suicide, Adrian Martin, 37.3, 60

Last Call at Maud’s, Patricia Leonardi, 20:1, 46-47

Last Call at the Oasis, Thomas Simonet, 37.4, 80

Last CigaretteThe, Marco Calavita, 24:4, 64

Last Hijack, Jason Michelitch, 40.1, 80

Last MetroThe, Leonard Quart, 35.1, 76

Last MetroThe, Peter Pappas, 10:4, 10-12,

Last Night at the Alamo, Lenny Rubenstein, 13:2, 29

Last of EnglandThe, Kent Greene, 18:4, 59-60

Last of the Unjust, The, Stuart Liebman, 39.2, 42–44

Last Resort, Louis Menashe, 26:3, 43-44

Last ResortThe, Fred Kaplan, 8:3, 54-55

Last Samurai, The, Robert Cashill, 38.1, 70

Last SeaThe, Patricia Erens, 14:2, 43

Last SeductionThe, Peter Ruppert, 21:1-2,104

Last Stage, The, Leonard Quart, 35.3, 58

Last Temptation of ChristThe, Christopher Sharrett, 17:1, 28-29

Last TycoonThe, Leonard and Barbara Quart, 7:4, 45-46

Last Woman, The, Cobbert Steinberg, 7:4, 40-41

Last Year at Marienbad, Royal S. Brown, 34:4, 58-60

Late Mathias Pascale, The, Darragh O’Donoghue, 38.3, 58-60

Late Ozu, David Sterritt, 33:1, 70-72

Late Spring, Catherine Russell, 32:2, 65-67

Lawless, The, Robert Cashill, 37.4, 68

Le beau Serge, Royal S. Brown, 37.2, 54-56

Le Pont du Nord, Richard Porton, 40.3, 71

Le Samourai, Robert Cashill, 31:3, 70-71

Le silence de la mer, Stuart Liebman, 40.4, 64–66

Leaving Las Vegas, John Fried, 22:1, 64

Legend of Suram FortressThe, Jonathan Rosenbaum, 27:3, 42-44

Legends of Rita, Christina M. White, 26:1, 54-55

Lego Movie, The, Travis Maiuro, 39.3, 58–59

Leila, Paul Arthur, 26:3, 52-53

Lenny Bruce Performance Film, Fred Kaplan, 6:4, 40-41

Lenny Bruce Without Tears, Fred Kaplan, 6:4, 40-41

Lenny Bruce: Swear to Tell the Truth, Gabe Geltzer, 24:4, 64

Lenny, Fred Kaplan, 6:4, 40-41

LeopardThe, Peter Bondanella, 30:1, 50-51

Les cousins, Royal S. Brown, 37.2, 54-56

Let the Fire Burn, Robert Cashill, 39.1, 80

Let’s Talk About Men, David Bartholomew, 7:4, 47-48

Letter Never Sent, Harlow Robinson, 37.4, 61-63

Letter to Brezhnev, Leonard Quart, 15:1, 48-49

Letter to Three Wives, A, Richard Porton, 39.2, 59

Letters from Iwo Jima, Robert Sklar, 32:2, 44-46

Level Five, David Sterritt, 40.2, 67–68

Leviathan, Louis Menashe, 40.1, 49–50

Life ApartA, Leonard Quart, 24:4, 52

Life Itself, Phillip Lopate, 39.4, 55–56

Life of Riley, Jordan Cronk, 40.2, 57–58

Like Someone in Love, Richard Porton, 39.4, 70

Lilting, Darragh O’Donoghue, 40.1, 52–54

Limelight, Thomas Doherty, 40.4, 68

Limits of ControlThe, Adam Nayman, 34.4, 48-50

Lincoln, Tony Pipolo, 38.2, 48-50

Listen to Britain, Leonard Quart, 20:3, 63-64

Listen to Me Marlon, Robert Cashill, 40.4, 80

Litany for Survival: The Life and Work of Audre LordeA, Karen Carillo, 22:2, 37

Little Girl Who Sold the Sun, Simeon Hutner, 25:4, 64

Live Nude Girls Unite!, Saul Austerlitz, 27:1, 64

Lives of Others, Christina M. White, 32:2, 58-59

Living Dangerously, Andrew Horton, 16:4, 64 & 56

Lolita, Richard Porton, 24:1, 71-72

Lone Star, Joan M. West & Dennis West, 22:3, 34-36

Long Day’s Journey Into Night, Phillip Lopate, 38.2, 63-64

Long Night’s Journey Into Day, Maria San Filippo, 26:3, 72

Long Shadows, Richard Berleth, 17:2, 44

Long Walk HomeThe, Peter Bates, 18:3, 51-53

Longtime Companion, Roy Grundmann, 18:1, 47-49

Looking for Langston, Roy Grundmann, 18:1, 27-28

Looking for Mr. Goodbar, Betsy Erkilla, 8:3, 43-45

Lord of the Flies, Richard Porton, 39.1, 68

Lord of War and Syriana, Rahul Hamid, 31:2, 52-55

Lorna’s Silence, Emilie Bickerton, 34:3, 49-51

Los Angeles Plays Itself, Roy Grundmann, 30:1, 80

Lost and Found, Nevena Dakovic, 32:3, 57-58

Lost and Found: American Treasures from the New Zealand Film Archive, Thomas Doherty, 39.1, 62–64

Lost in Translation, Maria San Filippo, 29:1, 26-28

Lotte Eisner in Germany, Lenny Rubenstein, 12:2, 48-49

Louisiana Story, Paul Arthur, 29:2, 73-75

Love and Anarchy, Lenny Rubenstein, 6:3, 36-37

Love DividedA, Martin McLoone, 26:4, 74-76

Love in GermanyA, Kevin Farrington, 14:2, 18 & 20-21

LoversThe, David Sterritt, 34:1, 62-65

Loves of IsadoraThe, Ruthe Stein, 3:1, 20-21

Love Streams, Richard Porton, 40.1, 67

Luchino Visconti: A Portrait, Martha P. Nochimson, 28.2, 45-48

Lugosi: Hollywood’s Dracula, Robert Cashill, 28:3, 48-49

Luminous Motion, Adele Madelo, 25:4, 64

Lumumba, Ron Briley, 27:1, 37-39

Luther Meike at 94, Dan Georgakas, 13:1, 24-25

Ma Saison Preferée, Leonard Quart, 22:2, 64

MacArthur’s Children, Rob Silberman, 14:3, 50 & 52

Machuca, Karen Blackstein, 30:3, 66-68

Madame Sata, Karen Backstein, 29:1, 25-26

Mademoiselle Chambon, Megan Ratner, 35.4, 46-47

Madness of King GeorgeThe, Harvey Roy Greenberg, 21:3, 47-48

Madres de la Plaza de MayoLas, Susan Jhirad, 15:1, 25-26

Magic Eye, Gareth Jones, 32:3, 52-52

Magnum Force, Gary Crowdus, 6:2, 54

MahabharataThe, Hank Heifetz, 18:2, 35

Maid in America, Mary Bowen, 32:1, 88

Maid, The, Megan Ratner, 35.1, 62-63

Make Way for Tomorrow, Christopher Sharrett, 35.4, 50-52

Making the News Fit, Lynn Jackson, 16:1-2, 80

Mamma Roma, Peter Bondanella, 21:3, 42-44

Man Escaped, A, Darragh O’Donoghue, 38.4, 58-60

Man from Laramie, The, David Sterritt, 39.4, 67–68

Man in the Gray Flannel SuitThe, Christopher Sharrett, 31:2, 66-68

Man of Aran, Paul Arthur, 29:2, 73-75

Man of Iron, Daniel Bickley, 12:1, 48-50

Man of Marble, Leonard Quart, 9:4, 47-48

Man of Marble, Peter Waterman, 9:2, 56

Man of Marble, Stuart Liebman, 40.1, 58–59

Man of the West, Christopher Sharrett, 40.2, 65–66

Man on the Moon, David Sterritt, 25:2, 52-54

Man on the Roof, Peter Biskind, 8:2, 49

Man on the Tracks, Stuart Liebman, 32:2, 62-64

Man Vanishes, A, Adam Bingham, 38.3, 60-62

Man Who Fell to Earth, The, Royal S. Brown, 31:2, 68-70

Man You Loved to Hate, The, Darragh O’Donoghue, 39.1, 66–67

Manchurian CandidateThe, Robert Sklar, 30:1, 42-44

Manchurian CandidateThe, Thomas Doherty, 16:4, 30-31

Manda Bala, Karen Backstein, 33:1, 60-61

Mandela, Susan Jhirad, 15:2, 39-40

Mandingo, Robert Cashill, 33:4, 69

Manhattan, Leonard Quart, 9:4, 47-48

Manslaughter, Thomas Doherty, 28:1, 46-48

Manufactured Landscapes, Robert Ribera, 33:3, 88

Manufacturing Consent, Christopher Sharrett, 28:1, 48-49

Manuscripts Don’t Burn, Rahul Hamid, 39.4, 58–59

Marcus Garvey: Look for Me in the Whirlwind, Geoffrey Jacques, 26:4, 76-77

Mardi Gras: Made in China, Colin Root, 34:2, 96

Maria Callas: Life and Art, George F. Custen, 17:4, 61 & 53

Maria Full of Grace, Vojislava Filipcevic, 30:1, 44-46.

Marianne and Juliane, Robert Sklar & Adrienne Harris, 12:3, 41-44

Marriage of Maria BraunThe, Ruth McCormick, 10:2, 34-36

Marriage of the Blessed, Rahul Hamid, 27:1, 40-41

MarseillaiseLa, Sandi E. Cooper, 17:3, 61

Masaki Kobayashi: Against the System, David Sterritt, 38.4, 56-58

Masala, Jacob Levich, 20:1, 44-46

Masked and Anonymous, Louis Menashe, 29:1, 96

Massillon, Roy Grundmann, 40.2, 70

Massoud, The Afghan, Cleo Cacoulidis, 28:2, 64

Matewan, Jeanne Williams, 16:3, 51-52

Max Havelaar, Robert Stam, 9:3, 47-48

McLibel, Richard Porton, 30:4, 80

Mean Streets, Lenny Rubenstein, 6:2, 49

Medium Cool, Paul Arthur, 27:3, 45-46

Memories of Prison, Robert Stam & Ismail Xavier, 14:2, 21-22

Memory of Justice, Lenny Rubenstein, 7:4, 41-44

Men at Lunch, Darragh O’Donoghue, 39.3, 67–69

Men in War, Robert Cashill, 39.4, 70

Men with Guns, Susan Ryan, 23:3, 43-44

Men, Karen Jaehne, 15:2, 42-43

Menace II Society, Paula Massood, 20:2, 44-45

Mephisto, Claudia Fonda-Bonardi, 12:2, 34-35 & 37

Merchants of Doubt, Charles Musser, 40.4, 50–52

Merchant of VeniceThe, Conrad Geller, 30:2, 48-50

Merchant of VeniceThe, Kenneth S. Rothwell, 29:4, 56-57

Messiah, Rosemary Rotondi, 25:2, 64

Methadone: An American Way of Dealing, Dan Georgakas, 6:4, 42-44

Metropolis, Catherine Russell, 29:1, 70-71

Mexico: The Frozen Revolution, Adrian Lajous-Vargas, 4:3, 36-37

Midnight Express, Peter Biskind, 9:2, 44-45

Midwinter Night’s DreamA, John Orr, 32:3, 60-61

Milestones, Gina Blumenfeld, 7:2, 36-38

Milk, Michael Bronski, 34:2, 71-73

Milky WayThe, John Calhoun, 33:2, 66-67

Mill and the Cross, The, Michael Atkinson, 37.4, 63-64

Miller’s Crossing, Richard MeKim, 15:2, 45-47

Minor AltercationA, Randall Conrad, 8:2, 50-51

Miracle at Intervale Avenue, Leonard Quart, 13:3, 28-29

MirrorThe, Steve Erickson, 24:2-3, 96

Mise Eire, Michael Gray, 32:2, 77

Misery, Pat Dowell, 18:2, 36-37

Mishima: A Life in Four Chapters, David Sterritt, 34:2, 78-79

Mishima: A Life in Four Chapters, Karen Jaehne, 14:4, 45-48

Miss Evers’ Boys, Clifford Thompson, 24:4, 51-52

Miss Mend, Louis Menashe, 35.4, 54-55

Missing Children, Dennis West, 15:1, 27

Missing, Gary Crowdus, 12:2, 31 & 36-37

Mission Impossible, Christopher Sharrett, 22:2, 64

Mississippi Burning, Thomas Doherty, 17-2, 48-50

Missouri BreaksThe, Betsy Erkilla, 8:1, 48-50

Model Shop, Jared Rapfogel, 35.1, 76

Model Shop, Linda Lambert, 2:4, 20

Mon oncle Antoine, Leonard Quart, 34:1, 71

Mon Oncle d’Amérique, Peter Pappas, 11:1, 30-32

Mon Oncle, Marco Calavita, 26:4, 81-82

Moneyball, Joseph Pisano, 37.1, 53-55

Monsieur Lazhar, Adam Nayman, 37.3, 50-51

Monsieur Verdoux, Michael Sicinski, 38.4, 62-64

Monsoon Wedding, Conrad Geller, 27:4, 43-44

Monster, Leonard Quart, 29:2, 96

Monster’s Ball, Clifford Thompson, 27:3, 32-35

More Than Honey, Daphne Bacon, 38.4, 80

Moscow Does Not Believe in Tears, Claudia Fonda-Bonardi, 11:3, 30-31

Most Dangerous Game, The, Robert Cashill, 38.1, 70

Mother and Son, Steve Erickson, 23:3, 64

Mother, Richard Porton, 22:4, 72

Moving Midway, Legacy Lee, 34:4, 80

Mr. Klein, Royal Brown, 24:1, 82-83

Mrs. Parker and the Vicious Circle, Cynthia Lucia, 21:4, 50

Much Ado About Anything, Darragh O’Donoghue, 38.4, 47-49

Much Ado About Something, Kenneth S. Rothwell, 27:4, 64

Munich, Robert Sklar, 31:2, 55-57

Murder of Fred HamptonThe, Gary Crowdus, 5:4, 50-51

Murderous Maids, Melissa Anderson, 27:3, 35-36

Muriel ou Le Temps D'un Retour, Royal S. Brown, 33:1, 73-74

Museum Hours, Declan McGrath, 39.3, 66–67

Music BoxThe, Gary Crowdus, 17:3, 45-47

Mustapha Kemal Atatürk: The Birth of a Republic, Dan Georgakas, 35.3, 72

My Architect: A Son’s Journey, Leonard Quart, 29:2, 24-25

My Beautiful Laundrette, Leonard Quart, 15:1, 38-39

My Brilliant Career, Joan M. West, 32:2, 76

My Brilliant Career, Melanie Wallace, 10:2, 40-41

My Country Occupied, Ruth McCormick, 5:1, 22

My Darling Clementine, Royal S. Brown, 29.3, 52-53

My Father and the Man in Black, Kevin Stoehr, 39.2, 72

My Michael, Leonard Quart, 17:3, 61

My Name Is Ivan, Gary Crowdus, 20:4, 55 & 18

My Son John, Christopher Sharrett, 38.1, 60-61

My Son the Fanatic, Leonard Quart, 24:4, 42-43

My Terrorist, Paul Arthur, 29:1, 96

My Way Home, Leonard Quart, 37.3, 60

Mysteries of Lisbon, Robert Koehler, 37.1, 5758

Mysterious Skin, Joel Dossi, 30:3, 65-66

Naked Acts, Jesse Rhines, 24:1, 96

Naked SpurThe, Jared Rapfogel, 32:1, 73

Nanook of the North, The Wedding of Palo, and Other Films of Arctic Life, Rahul Hamid, 38.4, 67

Narco Cultura, Jason Michelitch, 39.1, 80

Nashville, Rahul Hamid, 39.4, 70

Nasty GirlThe, Roy Grundmann, 18:2, 49-51

Nat Turner: A Troublesome Property, Rob Willey, 28:3, 64

Native Land, Tom Brom, 6:1, 48-49

Natural Born Killers, Christopher Sharrett, 21:1-2, 83-84

NaturalThe, Rob Edelman, 13:4, 45-46

NavigatorsThe, Leonard Quart, 27:4, 64

Neighboring Sounds, Dennis West, 38.4, 67

Nel Nome Del Padre, Alberto Cattini, 6:2, 55-56

Network, Fred Kaplan, 8:1, 44-46

Network, Marco Calavita, 31:4, 85-86

New Black, The, Amanda Sidney, 39.3, 80

New Cinema of Latin America, Dennis West, 15:3, 24-25

New Girlfriend, The, Darragh O’Donoghue, 40.4, 44–46

New Jack City, George Pelecanos, 18:3, 49-51

New Orleans: Big Easy to Big Empty, 32:2, 96

New School Order, Alice Cross, 23:2, 45 & 47

New York in the Fifties, Leonard Quart, 26:2, 64

New York, New York, Leonard and Barbara Quart, 8:2, 44-45

Newsfront, Lenny Rubenstein, 9:4, 46-47

Newsreel Films, Ruth McCormick, 4:4, 24 & 26

Next Big Thing, The, Roy Grundmann, 40.3, 80

Nicaragua: Free Homeland or Death, Dennis West, 11:1, 42

Nico Icon, Richard Porton, 22:1, 64

Night and the City, Dan Georgakas, 32:2, 72-74

Nil by Mouth, Leonard Quart, 23:4, 49-50

No End, Leonard Quart, 16:1-2, 74

No Man’s Land, Andrew Horton, 27:2, 38-39

No One Knows About Persian Cats, Rahul Hamid, 35.3, 47-48

No Place on Earth, Stuart Liebman, 38.3, 72

No Way Out, Larry Ceplair, 16:1-2, 72-73

No, Dennis West, 38.2, 52-54

Nobody Knows, Martin Tsai, 30:3, 63-64

Norma Rae, Pat Aufderheide, 9:3, 42-43

Norte, El, Dennis West, 34:3, 62

Nosferatu: A Symphony of Horror, Christopher Sharrett, 25:4, 48-49

Nosferatu: A Symphony of Horror, Michael Bronski, 33:3, 68-70

Nostalghia, Louis Menashe, 23:3, 60

Nostalghia, Louis Menashe, 39.3, 70

Not a Love Story, Angela Bonavoglia, 12:3, 38-40

Not One Less, Richard James Havis, 25:3, 46-48

Note by Note: The Making of Steinway L 1037, Tony Pipolo, 33:2, 88

Notes for an African Orestes, Robert Sklar, 18:1, 60-61

Notorious Bettie PageThe, Michael Sicinski, 31:4, 71-72

Notre Musique, Mark Peranson, 30:2, 55-56

notte, La, Robert Koehler, 39.2, 56–58

Now & After All These Years, Lenny Rubenstein, 12:2, 48-49

Nowhere to Hide, David Scott Diffrient, 26:2, 64

Nuit de VarennesLa, Hal W. Peat, 13:1, 44-45

O.K., Bill Nichols, 4:2, 33-35

O’Kalem Collection: 1910–1915, The, Ciara Chambers, 37.1, 66-67

October Country, Mary Bowen, 35.3, 72

Odd Man Out, Michael Gray, 40.4, 56–58

Official Story, The, Dennis West and Joan M. West, 14:4, 42-44

OgreThe, Louis Menashe, 24:2-3, 96

Oil, Smoke & Mirrors, Gary Crowdus, 33:3, 73

Oleanna, Felicia Feaster, 21:3, 52-53

Oliver Stone’s Untold History of the United States, Gary Crowdus, 39.1, 68

OmenThe, Duncan Cooper, 7:4, 46-47

On Company Business, Lenny Rubenstein, 10:3, 34-35

On Our Land, Dan Georgakas, 12:4, 55

On the Ropes, Susan Ryan, 25:1, 64

On the Waterfront, Joanna Rapf, 38.3, 55-57

On the Waterfront, Phillip Lopate, 27:2, 43-44

Once Upon a Time in Anatolia, Robert Koehler, 37.2, 44-46

Once Upon a Time in China, Michael Duffy, 26:4, 96

Once Upon a Time in the West, Heather Hendershot, 29:3, 56-57

Once Upon a Time in the West, Noë Goldwasser, 3:1,17-18

One Cut, One Life, Janet K. Cutler, 40.3, 50–52

One Day in the Life of Andrei Arsenevich, Louis Menashe, 26:4, 82-83

One Day Longer, Dan Georgakas, 26:3, 72

One Flew Over the Cuckoo’s Nest, Ruth McCormick, 7:3, 42-43

One Sings, the Other Doesn’t, Ruth McCormick, 8:3, 47-49

One. Two. One., Rahul Hamid, 39.1, 68

Only Real Game, The, Nicole McCormick, 40.2, 80

Open for Children, Renée Delforge, 7:1, 40-41

Orchestra Conductor, Lenny Rubenstein, 10:4, 12-13

Order of Myths, The, Michelle Robinson, 34:1, 88

Ordinary Miracles: The Photo League’s New York, Art Simon, 37.4, 80

Ordinary People, Gary Crowdus, 11:2, 31-33

Organizer, The, Dan Georgakas, 38.1, 68-69

Orlando, Pat Dowell, 20:1, 36-37

Orphans of the Storm, Phillip Lopate, 28:3, 49-50

Orwell Rolls in His Grave, Marco Calavita, 30:2, 80

Ossessione, Martha P. Nochimson, 28:2, 45-48

Oswald's Ghost, Art Simon, 33:3, 88

Othello (Orson Welles version), Gary Crowdus, 21:4, 52

Othello, Russell Jackson, 28:3, 48-51

Other FranciscoThe, Dennis West, 8:2, 47

Our Beloved Month of August, Adrian Martin, 38.2, 67

Our Daily Bread, Michael Sicinski, 32:2, 53-54

Our Man in Tehran, Rahul Hamid, 40.4, 68

Our Nixon, Christopher Sharrett, 39.1, 80

Our Song, Leonard Quart, 25:4, 43-44

Our Time, David Bartholomew, 6:3, 34-35

Out of Africa, Angela Bonavoglia, 14:4, 44-45

Out of Place: Memories of Edward Said, Charles Warren, 32:1, 88

Out of the Present, Louis Menashe, 28:1, 49-50

Outcast of the Islands, Rahul Hamid, 37.4, 68

Outrage, Maria San Filippo, 34:4, 80

OutsiderThe, Jared Rapfogel, 31:2, 62-64

Outskirts and The Girl with the Hatbox, Philip Lopate, 30:2, 62-64

Over Your Cities Grass Will Grow, George Carstocea, 37.1, 80

Over–Under, Sideways–Down, Peter Biskind, 8:3, 52-53

Pale Rider, Peter Roffman and Bev Simpson, 15:1, 46-47

Palindromes, Kate Bernstein, 30:4, 53-54.

Panama DeceptionThe, Susan Ryan, 20:1, 43-44

Panic in Needle Park, Joan Mellen, 5:2, 26-31

Panther, Marco Calavita, 21:3, 64

Paradise Lost, Alice Cross, 22:3, 38-39

Paragraph 175, Erik Gudris, 26:1, 72

Parisian Love, Thomas Doherty, 28:1, 46-48

Particle Fever, David Sterritt, 39.3, 80

Partisans of Vilna, Annette Insdorf, 15:2, 39

Passenger, Stuart Leibman, 32:2, 62-64

PassengerThe, Henry Giroux, 7:1, 37-39

Patience (After Sebald), Jonathan Murray, 37.4, 80

Patricia’s Moving Picture, Ruth McCormick, 10:2, 44

Patriotism or The Rite of Love and Death, David Sterritt, 34:2, 78-79

Patty Hearst, Richard Porton, 17:1, 29-30 & 32

Paul Cezanne: The Man and the Mountain, Gail Levin, 18:2, 33-34

Paul Goodman Changed My Life, Richard Porton, 37.1, 80

Pay 2 Play: Democracy’s High Stakes, Frankie Vanaria, 40.1, 80

Peggy Sue Got Married, Roberta Pearson, 15:3, 46-47

People of a Feather, Frankie Vanaria, 39.2, 72

Pépé le Moko, John Calhoun, 28:4, 59-60

Pere Portabella: Complete Works, Matt Losada, 38.4, 65-66

Perfect CandidateA, Marco Calavita, 22:3, 64

Persepolis, Rahul Hamid, 33:1, 61-63

Persuasion, Alissa Quart, 21:4, 64

Pervert’s Guide to CinemaThe, David Sterritt, 34:3, 42-43

Pervert’s Guide to Ideology, The, David Sterritt, 39.1, 57–58

Peter Seeger: The Power of Song, Louis Menashe, 33:2, 88

Philadelphia, Roy Grundmann and Peter Sacks, 20:3, 51-54

Phillip Roth: Unmasked, Leonard Quart, 38.3, 72

Phoenix, Jonathan Murray, 40.4, 46–48

PianistThe, Leonard Quart, 28:3, 42-44

Piano TeacherThe, Christopher Sharrett, 27:4, 37-40

PianoThe, Barbara Quart, 20:3, 54-56

Pickup on South Street, Robert Cashill, 29:3, 54-55

Pierre Bourdieu: Sociology is a Martial Art, Richard Porton, 28:4, 72

Pierre Étaix, Richard Porton, 38.4, 67

Pierrot le fou, Royal Brown, 33:3, 64-65

Pixote, Robert Stam, 12:3, 44-45

Place Called ArdoyneA, David Thompson, 6:2, 49-50

Places in the Heart, Alice Cross, 14:1, 40-42

Plagues and Pleasures on the Salton Sea, Christopher Long, 33:2, 88

Platoon, Gary Crowdus, 21:4, 52-53

Platoon, Sydelle Kramer, 15:3, 49-50

Plea Bargaining: The American Way of Justice, Melanie Wallace, 10:4, 40

Plenty, Leonard Quart, 14:3, 42-44

Ploughman’s LunchThe, Leonard Quart, 14:1, 48-49

Plunder: The Crime of Our Time, Clay Farland, 35.4, 72

Poetry, Borah Chung, 37.1, 61-62

Point of Order, Robert Koehler, 31:2, 64-66

Poison, Michael Laskawy, 18:3, 42-43

Poisoned by Polonium, Louis Menashe, 33:3, 60-61

Pola X, Ioannis Mookas, 26:1, 72

Poletown Lives!, Miriam Frank, 13:3, 27-28

Pollock, Leonard Quart, 26:2, 46-47

Ponette, Richard Porton, 23:1, 64

Portrait of Jason, Michael Bronski, 32:1, 65

PostoIl, Peter Bondanella, 29:1, 73-74

Power Trip, David Sterritt, 29:2, 96

Prefab PeopleThe, Jared Rapfogel, 31:2, 62-64

President’s Last BangThe, Noh Kwangwoo, 31:2, 57-59

Pretty Woman, Thomas Doherty, 18:1, 40-41

Price of Pleasure, The, Roy Grundmann, 35.1, 88

Price of SugarThe, Michael Civille, 33:1, 96

Prince of the City, Richard Linnett, 11:4, 45-47

Prisoner of the Mountains, Louis Menashe, 23:1, 47-49

Prisoners of Conscience, Udayan Gupta, 10:1, 57

Private Benjamin, Judith Gustafson, 11:1, 32-33

Private Century, Stuart Liebman, 35.3, 56-57

Private Confessions, Leonard Quart, 24:2-3, 96

Procedure, Robert Sklar, 33:3, 50-52

Professional Revolutionary, Dan Georgakas, 30:3, 88

Profit and Nothing But, Amy Taubin, 27:3, 64

Profit Motive and the Whispering WindThe, Michelle Robinson, 33:3, 88

Prometheus, Thomas Doherty, 37.4, 53-55

Promised Land, The, Leonard Quart, 40.2, 70

Prophet’s Prey, Matthew Noferi, 40.4, 80

Public Memory, Paul Arthur, 29.3, 72.

Puerto Rico: Paradise Invaded, Patricia Erens, 8:2, 52

Pump, Victoria Quamme, 40.1, 80

Pump Up the Volume, Peter Bates, 18:2, 47-48

Pumping Iron, Cobbett Steinberg, 8:1, 51 -52

Putney Swope, Ruthe Stein, 3:3, 17-18

Q & A, Leonard Quart, 18:4, 60

Quare Fellow, The, Michael Gray, 35.1, 74-75

Qué Hacer?, Marvin Surkin, 6:2, 52-53

Queen Kelly, John Calhoun, 29:2, 78-80

Queen Margot, Darragh O’Donoghue, 40.3, 62–63

QueenThe, Sandy Flitterman-Lewis, 32:2, 50-52

Querelle, Ed Sikov, 13:1, 40-42

Quest for Fire, Michael Hendricks, 12:3, 45-46

QuestThe, Marco Calavita, 22:2, 64

Question of SilenceA, Barbara Quart, 13:3, 45-47

Quicksilver, Felix Rebolledo, 15:1,49

Quiet AmericanThe, Geoffrey Jacques, 28:3, 45-47

Quilombo, Robert Stam, 15:1, 42-44

Quiz Show, Thomas Doherty, 21:1-2, 85-87

Rabbit is MeThe, Richard Porton, 34:1, 71

Race Against Prime Time, Lynne Jackson, 16:1-2, 80

Radio Days, Rahul Hamid, 40.1, 67

Raging Bull, Dan Georgakas, 11:1, 28-30

Ragtime, Richard Linnett, 12:1, 52-53

Rambo: First Blood Part II, Rob Edelman, 14:3, 44-45

Ran, Ron Silberman, 14:4, 51-52

Rancho California (Por Favor), Steve Berndt, 29:3, 72

Rape of Love, Melanie Wallace, 10:3, 35-36

Rate It X, Elayne Rapping, 15:3, 25-26

Real BlondeThe, Marco Calavita, 23:3, 64

Reality, Michael Sicinski, 38.3, 47-48

Rebellion in Patagonia, Dennis West, 10:1, 50-52

Rebels with a Cause, Paul Arthur, 25:4, 35-36

Red and the WhiteThe, Leonard Quart, 33:3, 73

Red Dawn, Lenny Rubenstein, 13:4, 41-42

Red Hollywood, Thomas Doherty, 40.1, 44–46

Red Psalm, Jared Rapfogel, 37.2, 62

Red Riding Trilogy, The (In the Year of Our Lord 1974In the Year of Our Lord 1980In the Year of Our Lord 1983), David Sterritt, 35.3, 45-47

Red River, Graham Fuller, 39.4, 64–65

Red Squad, Lenny Rubenstein, 5:4, 51-53

Red, Michael Bentley, 21:1-2, 104

Redevelopment, Tom Brom, 6:4, 45

Reds, Lenny Rubenstein, 12:1, 46-48

Reds, Michael Joshua Rowin, 32:3, 76-77

Reed: Insurgent Mexico, Dennis West, 22:1, 53-54

Reel Bad Arabs, Dan Georgakas, 31:1, 80

Regarding Susan Sontag, Jason Michelitch, 40.3, 80

Regret to Inform, Paul Arthur, 24:4, 37-39

Rembetiko, Dan Georgakas, 35.4, 60

Rembrandt’s J’Accuse, David Sterritt, 35.2, 66-67

Repentance, Louis Menashe, 16:3, 47-49

Repulsion, Bill Krohn, 35.1, 70-72

Requiem for Syrian Refugees, A, Roy Grundmann, 40.2, 80

Rescue Dawn, Thomas Doherty, 32:4, 48-50

Reservoir Dogs, Robert Hilferty, 19:1, 79-81

Restrepo, Robert Sklar, 35.4, 42-43

Retour d’AfriqueLe, Lenny Rubenstein, 6:3, 39

Return of Martin GuerreThe, Mark Levinson, 13:2, 47-49

Return with Honor, Paul Arthur, 24:4, 37-39

Return, Susan L. Carruthers, 37.3, 49-50

ReturnThe, Louis Menashe, 29:2, 25-27

Revisionaries, The, Jason Michelitch, 38.1, 80

Revolutionary Road, Robert Sklar, 34:2, 73-75

RFK Must Die, Christopher Sharrett, 33:4, 58-60

Richard III (Laurence Olivier version), Gary Crowdus, 21:3, 53

Richard III (Richard Loncraine version), Gary Crowdus, 22:1, 34-37

Richard III, Russell Jackson, 28:3, 48-51

Ricochets, Ella Shohat, 16:3, 41-44

Ride in the Whirlwind, Richard Porton, 40.2, 70

Riding Alone for Thousands of Miles, Robert Sklar, 31:4, 66-68

Riding the Rails, Richard Porton, 23:2, 64

Riff-Raff, Leonard Quart, 20:2, 54-55

Rififi, Dan Georgakas, 32:2, 72-74

Rififi, Paul Arthur, 26:1, 52-53

Riot in Cell Block 11, Robert Koehler, 39.3 60–62

River, The, Andrew Horton, 40.4, 68

Road to Perdition, Paul Arthur, 28.1, 34-35

Robert Rossellini’s War Trilogy (Rome Open CityPaisan and GermanyYear Zero), Adam Bingham, 35.4, 56-58

Robinson Crusoe, Brian Neve, 30:2, 59-60

Rocco and His Brothers, Martha P. Nochimson, 28:2, 45-48

Rocket Science, Doreen Hoover, 33:1, 65-67

Rocky Road to DublinThe, Michael Gray, 32:1, 69-70

Rocky, Pat Aufderheide, 8:1, 40-41

Rodrigo D.: No Future, Dennis West and Joan M. West, 18:4, 47-49

Rollerball, James Monaco, 7:1, 41-42

Roman Polanski: Wanted and Desired, Thomas Doherty, 34:1, 53-55

Romeo and Juliet (Franco Zeffirelli version), Gary Crowdus, 2:3, 17 & 21

Romeo, Juliet and Darkness, Leonard Quart, 37.2, 62

Romero, Dennis West and Joan West, 17:4, 46-47

Romper Stomper, John Fried, 20:2, 49-50

Room with a View, Hal W. Peat, 15:1, 48

Roommates, Angela Bonavoglia, 12:2, 43-45

Rosa Luxemburg, Robert Sklar, 15:4, 51-52

Rosemary’s Baby, David Sterritt, 38.3, 53-54

Rosencrantz and Guildenstern are Dead, Kenneth Rothwell, 30:4, 62-64

Rosewater, Karen Backstein, 40.2, 52–53

Rosewood, Ed Guerrero, 23:1, 45-47

Roue, La, Stuart Liebman, 34:1, 67-70

Rough Aunties, Michelle Robinson, 34:3, 80

Roxanne, Peter Bates, 16:1-2, 65-67

Rubble Kings, Jason Michelitch, 40.4, 80

Ruling ClassThe, Royal S. Brown, 27:4, 50-51

Rumble Fish, Peter Roffman and Bev Simpson, 13:2, 49-50

Running on Empty, Susan Jhirad, 17:1, 22-33

Rushmore, Marco Calavita, 25:4, 50

Russian Ark, Louis Menashe, 39.2, 59

Sacco and Vanzetti, Christopher Sharrett, 26:2, 51-52

Sacco and Vanzetti, Richard Porton, 32:2, 96

SacrificeThe, Gary Crowdus, 20:4, 55 & 18

Sacrificio, Johnny Lorenz, 28:1, 64

Sad Song of Yellow Skin, Lenny Rubenstein, 4:4, 29

SalamandreLa, Lenny Rubenstein, 6:1, 46-47

Salo, Dan Georgakas, 8:3, 45-47

Salt of the Earth, Gary Crowdus, 15:1, 56-57

Salt of the Earth, Ruth McCormick, 5:4, 53-55

Sammy and Rosie Get Laid, Leonard Quart, 16:3, 40-41

Sans Soleil, Ken Eisen, 14:2, 44

Sansho the Bailiff, Martha P. Nochimson, 33:1, 74-75

São Bernardo, Robert Stam, 11:3, 33-36

Saoirse?, Michael Gray, 33:2, 69-70

Saraband, Tony Pipolo, 30:3, 58-59

Sarah’s Key, Sandy Flitterman-Lewis, 36.4, 51-54

Sartre by Himself, Michael Kott, 18:3, 57

Satantango, Jared Rapfogel, 34:1, 71

Saturday Night Fever, Al Auster and Leonard Quart, 8:4, 36-37

Savage Nights, Howard Feinstein, 20:4, 50-51

Saving Private Ryan, Thomas Doherty, 24:1, 68-71

Sbatti il Mostro in Prima Pagina, Alberto Cattini 6:2, 55-56

Scarface, Karen Jaehne, 13:3, 48-50

Scenes from a Marriage, Leonard Quart, 23:1, 54-55

Schindler’s List, Thomas Doherty, 20:3, 49-51

School Blown Away by the WindThe, Rahul Hamid, 27:1, 41

Science is Fiction: The Films of Jean Painleve, Adrian Martin, 32:4, 65

ScortaLa, Hank Heifetz, 20:4, 47-48

Scottsboro: An American Tragedy, Geoffrey Jacques, 25:4, 38-40

Sea Inside, The, Robert Sklar, 30:2, 52-53

Search and Destroy, Thomas Denigan, 21:3, 64

Searching for Sugar Man, Dan Georgakas, 38.2, 80

Second Awakening of Christa Klages, Lynn Garafola, 9:4, 48-49

Second Circle, Stuart Liebman, 20:4, 54-55

Seconds, Christopher Sharrett, 39.1, 61–62

Secrecy, Gary Crowdus, 35.1, 76

Secret AgentThe, Karen Jaehne, 13:2, 28

Secret Honor, Karen Jaehne, 14:2, 12 & 14-15

Secret Sunshine, Rahul Hamid, 37.1, 68

Secrets & Lies, Richard Porton, 22:4, 51-52 & 54

Seduced and Abandoned, James Monaco, 32:3, 77-78

Seduction of Joe TynanThe, Betsy Erkkila, 10:1, 49-50

Seeing Red, Dan Georgakas, 13:2, 27-28

Selma, Herb Boyd, 40.3, 57–58

Señorita Extraviada, Karen Backstein, 28:1, 40-41

Sense and Sensibility, Laura Engel, 22:1, 64

Sense of LossA, David Thompson, 6:2, 49-50

September 11, Leonard Quart, 29:1, 96

September IssueThe, Roy Grundmann, 35.2, 88

Serious Man, A, Robert Sklar, 35.2, 58-59

Serpent’s EggThe, Leonard and Barbara Quart, 8:3, 42-43

Serpico, Dan Georgakas, 6:2, 51-52

Set Me Free, Melissa Anderson, 25:3, 64

Seven, Royal S. Brown, 22:3, 44-46

Seventeen, Alice Cross, 15:1, 26-27

Sex Positive, David Pendleton, 34:4, 80

sex, lies and videotape, Karen Jaehne,17:3, 38-40

Shadow Dancer, Darragh O’Donoghue, 38.3, 50-52

Shadow of the Vampire, David Sterritt, 25:4, 34-35

Shakespeare in Love, Kenneth S. Rothwell, 24:2-3, 78-80

Shame, Adam Nayman, 37.1, 50-51

Shampoo, Al Auster and Leonard Quart, 7:1, 36-37

Shattered Glass, Robert Sklar, 29:1, 23-25

She’s Gotta Have It, Coco Fusco, 15:3, 24

Sheer Madness, Barbara Koenig Quart, 13:4, 46 & 48-49

Sherlock, Colin Fleming, 37.4, 65-67

Shivers, Leonard Quart, 14:2, 16 & 18

Shoah, Lenny Rubenstein, 14:3, 39-41

Shoah, Stuart Liebman, 30:1, 52-54

Shooting, The, Richard Porton, 40.2, 70

Shoot the Moon, Adrienne Harris and Robert Sklar, 12:2, 37-39

Shoot the Piano Player, Gary Crowdus, 18:1, 60

Short Cuts, Leonard Quart, 20:3, 48-49

Shortbus, Linda Williams, 32:2, 47-49

Shutka Book of RecordsThe, Nikola Mijovic, 32:3, 59-60

Siberiade, Louis Menashe, 12:4, 50-51

Sicko, Richard Porton, 32:4, 44-46

Sid and Nancy, Lindi King, 15:4, 46-48

Sideburns, Louis Menashe, 20:1, 54

Silkwood, Angela Bonavoglia, 13:3, 38-40

Silver Linings Playbook, Ted Scheinman, 38.4, 64-65

Simpsons MovieThe, Thomas Doherty, 33:1, 63-65

Since Otar Left, Kate Bernstein, 29:3, 44-45

Singing the Blues in Red, Karen Jaehne, 17:1, 35-37

Single Man, A, Michael Bronski, 35.2, 64-66

Sisters in Resistance, Leonard Quart, 26:4, 96

Six O’Clock and All’s Well, Gary Crowdus, 10:2, 45

SlamNation, Marco Calavita, 24:1, 96

Slumdog Millionare, Robert Koehler, 34:2, 75-77

Small Faces, Leonard Quart, 22:3, 54

Smithereens, Elyse Dayton, 13:1,25

Smoke and Mirrors: A History of Denial, Marco Calavita, 25:4, 64

Smoke, Leonard Quart, 21:1, 44-48

Smooth Talk, Elayne Rapping, 15:1, 36-37

Soft Skin, The, David Sterritt, 40.3, 63–64

So Goes the Nation, Paul Arthur, 32:2, 78

Sobibor: October 14, 1943, 4 p.m., Alisa Lebow, 27:2, 33-34

Sokoruv: Early Masterworks, David Sterritt, 38.2, 60-61

Solaris, Chris Fujiwara, 28:3, 51-52

Soldier’s StoryA, Peter Roffman and Bev Simpson, 14:1, 42 & 44

Solidarity Song, Lenny Rubenstein, 23:4, 53

Some Mother’s Son, John Hill, 23:1, 44-45

Something Wild, Karen Jaehne, 15:4, 40-41

Somewhere Between, Rahul Hamid, 38.1, 80

Song of SparrowsThe, Robert Sklar, 34:3, 46-47

Song of the Canary, Patricia Erens, 10:4, 38-39

Sorceress, Susan Jhirad, 16:4, 44-46

Sorpasso, Il, Richard Porton, 39.3, 70

Sorrow and the PityThe, Lenny Rubenstein, 5:1, 15-18

Sorrow and the PityThe, Thomas Doherty, 26:3, 50-52

Sound of Torture, The, Jason Michelitch, 40.2, 80

SourceThe, David Sterritt, 24:4, 41-42

South Africa: The White Laager, Joe Margolis, 9:3, 54-55

South of the Border, Dennis West, 35.4, 72

SpecialistThe, Stuart Liebman, 27:2, 40-42

Spellbound, Conrad Geller, 28:3, 44-45

Spirit of ‘45, The, John Hill, 38.4, 67

Spirit of the Beehive, Dennis West, 32:1, 73

Spoiled Children, Claudia Fonda-Bonardi, 8:4, 38-39

Spook Who Sat By the DoorThe, Paula Hankins, 6:2, 47-48

Spring Breakers, Thomas Doherty, 38.3, 45-46

Spy Who Came in from the ColdThe, Christopher Sharrett, 34:3, 52-54

Square, The, Jason Michelitch, 39.2, 72

Stalingrad, Louis Menashe, 23:2, 50-51

Stand and Deliver, Alice Cross, 16:4, 52-54

Stand by Me, Alissa Quart, 15:3, 48

Standing in the Shadows of Motown, Hiram Perez, 28:3, 64

Stardust Stricken, Mohsen Makhmalbaf: A Portrait, Rahul Hamid, 27:1, 41

State Legislature, David Reilly, 32:4, 51-53

State of ThingsThe, Richard Linnett, 13:1, 26

Stay Hungry, Tom Brom, 7:3, 37-38

Stealing Beauty, Leonard Quart, 22:3, 64

Steam: The Turkish Bath, Cleo Cacoulidis, 24:2-3, 96

Steelmakers, The, Dan Georgakas, 7:1, 39-40

Stevie, Paul Arthur, 28:3, 40-42

Stolen Children, Peter Bondanella, 20:1, 37-38

Stone Years, Dan Georgakas, 15:1, 45-46

Stonewall Uprising, David Pendleton, 35.4, 72

Stonewall, Christopher J. Hogan, 22:3, 36-38

Story of Floating Weeds, A, and Floating Weeds, Catherine Russell, 30:1, 56-58

Story of G.I. Joe, Thomas Doherty, 26:1, 60-61

Story of Qiu JuThe, Robert Sklar, 20:1, 41 & 63

Storytelling, George Wu, 27.3, 33-35

Stranger with a Camera, Lawrence Daressa, 26:3, 46-47

Straw Dogs, Christopher Sharrett, 28:4, 57-59

Streetwise, Alice Cross, 14:3, 28

Strike, Harlow Robinson, 37.1, 63-64

Struggles in Steel, 22:3, 64

Stuart Hall Project, The, John Hill, 39.3, 70

Sugar and Spice, Renée Delforge, 7:1, 40-41

Sugar Cane Alley, George De Stefano, 13:4, 24 & 44-45

Sugar CurtainThe, Dennis West, 33:1, 96

Sugar, Christopher Long, 34:4, 50-52

Sullivan’s Travels, Martha Nochimson, 27:3, 40-42

Summer Hours, Diana Wade, 35:4, 60

Summer of Sam, Paula Massood, 25:2, 62-64

Summer with Monika, Adrian Martin, 37.4, 58-59

Summer’s Tale, A, Adam Bingham, 40.4, 62–64

Sundays and Cybèle, Gary Crowdus, 40.1, 56–58

Sunshine, Catherine Portuges, 26:1, 56-57

Sunshine Superman, Matthew Noferi, 40.3, 80

Super Size Me, Anne Gilbert, 29:4, 47-49

SuperEl, Dan Georgakas, 9:4, 49-51

Supreme Price, The, Mary Bowen, 40.1, 80

Surfwise, Matthew Noferi, 33:4, 88

Swamp Water, Robert Cashill, 37.3, 60

Sweet Sixteen, Roger Bromley, 28:4, 48-50

Sweet Sweetback’s Baadasssss Song, Joan Mellen, 5:2, 26-31

Swept AwayRuth McCormick, 7:2, 41-42

Swimming Pool, Robert Sklar, 28:4, 47-48

Swimming to Cambodia, Richard McKim, 15:4, 41-43

T.A.M.I. Show, The, Thomas Doherty, 35.3, 58

TakeThe, Johnny Lorenz, 30.2, 80.

Taking Back Detroit, Dan Georgakas, 11:3, 39

Taking of Power by Louis XIV, The, Bill Krohn, 34:3, 56-57

Talented Mr. RipleyThe, Michael Bronski, 25:3, 41-43

Tale of Winter, A, Adam Bingham, 40.4, 62–64

Tales from Arab Detroit, Abdeen Jabara, 22:2, 38-39

Tales from the Golden Age, Monica Filimon, 37.3, 53-55

Talk Radio, Richard Porton, 17:2, 53-55

Talk to Her, Karen Backstein, 28:2, 41-42

Target for Tonight, Leonard Quart, 20:3, 63-64

Tarnation, Michael Bronski, 30:1, 38-40

Taxi, Jordan Cronk, 40.4, 48–50

Taxi Driver, Lenny Rubenstein, 7:3, 34-35

Teach Our Children, Dan Georgakas, 6:1, 47-48

Teachers, Rob Edelman, 14:2, 11-12

Tell About the South, Martha Nochimson, 27:1, 42-44

Tell the Truth and Run, Marco Calavita, 22:4, 56-57

Tell Them Who You Are, Paul Arthur, 30:3, 88

Terms of Endearment, Karen Jaehne, 13:4, 49-50

Terra TremaLa, Martha P. Nochimson, 28:2, 45-48

Terror's Advocate, Alexander Zevin, 33:2, 50-52

Terrorists in Retirement, Sandy Flitterman-Lewis, 26:4, 72-74

Tess, Graham Fuller, 39.3, 64–66

Tess, Melanie Wallace, 11:1, 36-37

Testimony, Michael D. Rubenstein, 28:2, 64

Testimony: The Story of Shostakovich, Royal S. Brown, 32:2, 67-69

Thaddeus O’Sullivan: The Early Films, 1974–1985, Michael Gray, 40.1, 64–66

Thank You for Smoking, Thomas Doherty, 31:3, 54-56

That Man from Rio, Gary Crowdus, 40.4, 68

That’s Entertainment, Part II, Al Auster, 7:3, 40-41

The Ox-Bow Incident, John Calhoun, 29:3, 55-56

Thelonious Monk: Straight, No Chaser, David Segal, 17:4, 30-31

Theremin, Louis Menashe, 21:4, 64

They Are Their Own Gifts, Ruth McCormick, 10:1, 56-57

They Don’t Wear Black Tie, Robert Stam, 13:2, 34-35

Thief of BaghdadThe, Rahul Hamid, 33:4, 69

Thief, Al Auster and Leonard Quart, 11:3, 38

Thief, The, Louis Menashe, 24:1, 96

Thief, The, Louis Menashe, 35.4, 60

Thieves’ Highway, Dan Georgakas, 32:2, 72-74

Thin Blue LineThe, Peter Bates, 17:1, 38-39 & 45

Thin Red LineThe, Thomas Doherty, 24:2-3, 83-84

Third GenerationThe, Richard Linnett, 11:1, 39-42

Thirteen Days, Art Simon, 26:2, 43-44

Thirteen, Robert Goethals, 29:1, 22-23

This Is Not a Film, Rahul Hamid, 37.3, 47-48

This Sporting Life, Leonard Quart, 22:4, 60

Thomas Eakins: A Motion Picture, Gail Levin, 18:2, 34

Three Brothers, Gary Crowdus, 12:2, 41 & 43

Three Colors: Blue, White, Red, David Sterritt, 37.2, 60-61

Three Films by Hiroshi Teshigahara, Robert Koehler, 33:1, 77-79

Three Songs of Lenin, Louis Menashe, 40.3, 71

THX-1138-4EB, Gary Crowdus, 2:1, 25

Thy Kingdom Come, Thy Will Be Done, Richard Porton, 16:4, 28-29

Ticket to Heaven, Burns Raushenbush, 12:1, 50-52

Tighten Your Belt, Bite the Bullet, Gary Crowdus, 11:4, 52

Timbuktu, Maria Garcia, 40.2, 53–55

Time Regained, Melissa Anderson, 25:1, 43-44

Tin DrumThe, Henry Pachter, 10:4, 31-32

Tin Men, Susan Jhirad, 15:4, 48-49

Tinker Tailor Soldier Spy, Darragh O’Donoghue, 37.1, 59-60

Titus, Martha Nochimson, 26:2, 48-50

To Be a Crook, Andrew Lugg, 1:1, 10

To Chris Marker, An Unsent Letter, Christopher Sharrett, 39.3, 80

To Die For, Marco Calavita, 21:4, 64

Today Is a Good Day: Remembering Chief Dan George, Angela Aleiss, 25:2, 64

Todos Santos Cuchumatan, Dan Bickley, 14:1, 24-25

Together, Leonard Quart, 27:1, 34-36

Tokyo Story, Catherine Russell, 29:3, 50-51

Tom & Viv, Ed Kelleher and Cynthia Lucia, 21:3, 40-42

Tongues Untied, Thyrza Goodeve, 18:1, 26-27

Tony Manero, Martha P. Nochimson, 34:4, 46-48

Too Late Blues, Adrian Martin, 37.4, 68

Tootsie, Barbara Quart, 12:4, 40-42

Tootsie, Matthew Hays, 40.2, 68–69

Top Gun, Rob Edelman, 15:1, 41-42

Topsy-Turvy, Richard Porton, 25:2, 57-59

Tora! Tora! Tora!, John Pyros, 4:2, 40-41

Torch Song Trilogy, Jude Schwendenwien, 17:3, 47

Touch of Spice, A, Dan Georgakas, 35.3, 58

Touch of Spice, A, Lydia Papadimitriou, 32:3, 56

Tourfilm, Jude Schwendenwien, 15:4, 60

Town is QuietThe, Tom Hyland, 27:4, 64

Trade Off, Rahul Hamid, 26:3, 72

Traffic, Richard Porton, 26:3, 41-43

Trafic, James Monaco, 34:3, 60-61

Tragedy of Macbeth, The, David Sterritt, 40.1, 60–61

Transamerica, Nicole Gagné, 31:3, 56-57

Transport from Paradise, Leonard Quart, 39.4, 70

Transsiberian, Louis Menashe, 34:2, 85

Tree of Wooden ClogsThe, James Monaco, 30:1, 58-59

Tree of Wooden ClogsThe, Ruth McCormick, 9:4, 53-54

Trial in PragueA, Louis Menashe, 25:4, 41-43

Trial of Billy JackThe, Ruth McCormick, 6:4, 45-46

Tristana, Gary Crowdus, 38.3, 63

Triumph of the Will, Stuart Liebman, 27:4, 46-48

Trouble the Water, Legacy Lee, 34:1, 88

Troublesome Creek, Paul Arthur, 32:1, 73

TroutThe, Karen Jaehne, 13:1, 45 & 47

TruceThe, Leonard Quart, 23:4, 64

True Stories, Richard McKim, 15:3, 44-46

Truman ShowThe, Richard Porton, 23:4, 48-49

Trumbo, David Sterritt, 35.1, 68-69

Truth in Numbers?, Theo Wulff, 37.1, 80

TuneThe, Henry Lowengard, 20:1, 49

Turin Horse, The, Tony Pipolo, 37.2, 48-50

Turning PointThe, Al Auster, 8:3, 51-52

Twelve ChairsThe, Dennis West, 33:1, 80

Twilight’s Last Gleaming, Richard Porton, 38.2, 67

Twin Falls Idaho, Alice Cross, 25:1, 64

Twisted Toons, Henry Lowengard, 23:1, 55

Two Days, One Night, Jonathan Murray, 40.1, 50–52

Two Faces of January, The, Michael Bronski, 39.4, 56–58

Ugetsu, Catherine Russell, 31:3, 64-66

Ukraine in Flames, Louis Menashe, 37.3, 60

Ulysses’ Gaze, Andrew Horton, 22:1, 43-45

Un chien andalou, Randall Conrad, 30:4, 64-65

Unapologetic Life of Margaret RandallThe, Dan Georgakas, 30:1, 48-49

Uncommon Valor, Rob Edeiman, 13:3, 47-48

Uncovered: The Whole Truth About the Iraq War, Anthony Arnove, 29:2, 80-81

Under Fire, Lenny Rubenstein, 13:2, 38 & 40-41

Under Fire: Journalists in Combat, Thomas Simonet, 37.2, 72

Under the Skin of the City, Rahul Hamid, 28:4, 50-51

Unfaithfully Yours, David Sterritt, 31:2, 70-72

Unfinished Symphony, Grover Furr, 26:4, 96

Uninvited, The, Michael Bronski, 39.2, 49–50

Union Maids, Ruth McCormick, 8:1, 50-51

United 93, Thomas Doherty, 31:4, 73-75

United in Anger: A History of ACT UP, Roy Grundmann, 37.4, 80

United Red Army, David Sterritt, 37.4, 64-65

Unknown Known, The, Susan L. Carruthers, 39.2, 36–38

Unknown SoldierThe, Noah Tsika, 33:4, 64-66

Unknown SoldierThe, Staurt Liebman, 33:1, 96

Unmade Beds, Steve Erickson, 24:1, 96

Unmanned: America’s Drone Wars, Victoria Quamme, 39.3, 80

UntouchablesThe, Sheldon Sunness, 16:1-2, 70-71

Unzipped, John Fried, 21:4, 64

Up to a Point, Gary Crowdus, 14:2, 24-25

Urban Insurrection in Northern Ireland, David Thompson, 6:2, 49-50

Usual SuspectsThe, John Fried, 22:2, 53-54

V for Vendetta, Richard Porton, 31:3, 52-54

Vagabond, Royal S. Brown, 23:4, 56-57

Val Lewton: Man in the Shadows, Richard Porton, 33:3, 73

VampiresLes, Royal Brown, 49-50

Vanishing, The (1988), Robert Cashill, 40.2, 61–63

Vanishing Waves, Robert Cashill, 39.1, 68

Variety, Susan Jhirad, 14:1, 44-45

Velvet Hangover, Louis Menashe, 27:2, 64

Vengeance Is Mine, Aaron Cutler, 40.1, 63–64

Venus Beauty Institute, Joan M. West, 26:2, 44-46

Vera Drake, Leonard Quart, 30:1, 36-38

Verdict on Auschwitz, Stuart Liebman, 32:4, 59-61

Verdict, The, Robert Sklar, 12:4, 47-48

Verdun: Looking at History, Louis Menashe, 40.2, 70

Veritas: Everybody Loves Harvard, Robert Ribera, 37.3, 72

Vicky Cristina Barcelona, Sam B. Girgus, 34:1, 55-57

Victim, David Lugowski, 23:3, 57-58

Victory in Soviet Ukraine, Louis Menashe, 37.3, 60

Vie de BohèmeLa, Richard Porton, 20:2, 47-48

Violette, Carol Barko, 9:2, 47-48

Virdiana, Jonathan Rosenbaum, 31:4, 83-85

Virgin SpringThe, Michael Sicinski, 31:3, 68-70

Vito, David Pendleton, 38.1, 80

Vlad the ImpalerThe True Life of Dracula, Karen Jaehne, 10:3, 38-39

Vladimir and Rosa, Joan Mellen, 4:3, 39

Vodka Lemon, 30:2, 80

Volver, Carla Marcantonio, 31:4, 77-79

Voyages, Leonard Quart, 26:3, 44-45

Vukovar, Dan Georgakas, 22:1, 64

W.C. Fields Comedy CollectionThe, Robert Cashill, 33:3, 70-72

Waco: The Rules of Engagement, Peter Bates, 23:3, 45-46

Wadjda, Maria Garcia, 38.4, 51-53

Walker, Coco Fusco, 16:3, 52-53

Walker, Robert Rosenstone, 33:3, 67-68

Wall Street, Elayne Rapping, 16:3, 49-51

Wallowitch & Ross: This Moment, Ed Kelleher, 25:2, 64

Waltz with Bashir, Jonathan Murray, 34:2, 65-66, 68

War at HomeThe, Eric Breitbart, 10:4, 36-37

War Photographer, Tony Pipolo, 27:4, 64

War RoomThe, George C. Stoney, 20:3, 57-58

War Symphonies: Shostakovich Against StalinThe, Royal Brown, 24:2-3, 88-89

WarGames, Lenny Rubenstein, 13:1, 42-43

Waves of Revolution, Udayan Gupta, 10:1, 57

We Are the Best!, Kiva Reardon, 39.4, 53–55

We Are the Guinea Pigs, Melanie Wallace, 11:2, 37 & 39

We Are the Palestinian People, Lenny Rubenstein, 6:3, 35-36

We Demand Freedom, Dan Georgakas, 6:1 47-48

We Were So Beloved, Leonard Quart, 15:2, 41

We Were Strangers, Robert Sklar. 15:3, 56-57

We Won’t Grow Old Together, Jared Rapfogel, 40.1, 67

Weather UndergroundThe, Sam Green and Bill Siegel, 28:4, 44-45

Weave of TimeA, Alan Rosenthal, 16:1-2, 78-79

Wedding in Galilee, Miriam Rosen, 16:4, 50-52

WeddingA, Barbara & Leonard Quart, 9:2, 45-47

Week-End, Le, Jonathan Murray, 39.2, 44–46

Weekend Stories, Stuart Liebman, 28:1, 44-46

Weekend, Royal S. Brown, 38.2, 62-63

Weeping MeadowThe, Dan Georgakas, 31:1, 56-57

Weirded Out and Blown Away, Jude Schwendenwien, 17:1, 20-21

West Beirut, Steve Erickson, 24:4, 64

Whale Rider, Paula Morris, 29.1, 18-19

What Could You Do with a Nickel?, Elyse Dayton, 13:1, 24

What Farocki Taught, Eric Breitbart, 23:4, 51

When Castro Seized the Hilton, Dennis West, 38.2, 80

When Horror Came to Shochiku, Robert Cashill, 38.2, 67

When Memory Comes, Stuart Liebman, 40.2, 80

When the Levees Broke: A Requiem in Four Acts, Michael Sicinski, 32:1, 54-56

When the Mountains Tremble, Dan Bickley, 14:1, 24-25

When We Were Kings, Susan Ryan, 22:4, 54-55

Where Soldiers Come From, Nicholas Forster, 37.2, 72

While We’re Young, Janet K. Cutler, 40.3, 50–52

Whistle BlowerThe, Larry Ceplair, 16:1-2, 72-73

White Dog, Royal S. Brown, 34:3, 54-55

White Line Fever, Gerald Peary, 7:2, 40

White Man’s Burden, Julien Lapointe, 22:1, 64

Whiz Kids, Emily Hakkinen, 35.4, 72

Who Killed Vincent Chin?, Carley Cohan, 17:1, 20

Who Shall Live and Who Shall Die?, Lenny Rubenstein, 12:2, 48-49

Who the #$&% is Jackson Pollock?, Paul Arthur, 32:2, 88

Whoever Says the Truth Shall Die, Chris Long, 32:2, 96

Whole Shootin’ MatchThe, Lenny Rubenstein, 10:2, 45

Whole Wide WorldThe, Andrew Horton, 23:1, 49-50

Wide Blue Road, The, Diane Stevenson, 29:1, 77-78

Widow of the Revolution, Louis Menashe, 27:3, 64

WifeThe, Cynthia Lucia, 22:3, 64           

Wild at Heart, Christopher Sharrett, 18:2, 39-41

Wild BunchThe, Kenneth R. Brown; 3:3, 18-20 & 28

Wild GeeseThe, Robert Stam, 9:2, 50-51

Wild Reeds, Louis Menashe, 22:1, 64

Wild Strawberries, Brandon Grafius, 27:4, 51-52

Will the Real Terrorist Please Stand Up, Dennis West, 38.3, 63

William Kunstler: Disturbing the Universe, 35.2, 88

Wind That Shakes the BarleyThe, Gary Crowdus, 32:2, 55-57

Windmill MovieThe, Maria San Filippo, 35.1, 88

Windtalkers, Thomas Doherty, 27:4, 36-37

Wings of Desire, Adam Bingham, 35.2, 68-69

Winslow BoyThe, Richard Porton, 24:2-3, 96

Winstanley, Richard Porton, 25:4, 51

Winter Sleep, Darragh O’Donoghue, 40.4, 58–60

Winter Soldier, Christopher Sharrett, 31:4, 82-83

Winter Soldier, Lenny Rubenstein, 5:4, 48-49

Wisconsin Death Trip, Christopher Sharrett, 25:2, 64

Wise Blood, David Sterritt, 34:4, 61-62

With Babies and Banners, Gary Crowdus, 9:1, 43-45

Without Lying Down, Martha P. Nochimson, 29:1, 71-73

Witness to Apartheid, Dan Georgakas, 16:1-2, 79-80

WitnessThe, Lenny Rubenstein, 11:4, 47-50

WitnessesThe, Jonathan Murray, 33:2, 57-59

WizThe, Al Auster, 9:2, 41-42

WMD: Weapons of Mass Deception, Marco Calavita, 30:3, 88

Wolf Hall, David Sterritt, 40.4, 66–67

Woman in the Moon, Robert Cashill, 40.1, 67

Woman Next DoorThe, Hans Köning, 12:1, 56-57

Woman Under the InfluenceA, Michele Russell, 7:1, 34-36

Woman’s FilmThe, Ruth McCormick, 4:3, 40-41

Women in Black, Rosemary Rotondi, 25:1, 64

Women of Summer, Joseph DePlasco, 14:4, 39-40

Women of Vision, Jenny Deller, 25:1, 53-54

Wooden GunThe, Barbara Quart, 11:4, 51-52

Word Is Out, Cobbett Steinberg, 8:4, 41-42

Work, Dan Georgakas, 5:4, 55

Working Class Goes to HeavenThe, Alberto Cattini, 5:2, 24-25

Working Girl, Cindy Fuchs, 17:2, 50-52

Working Girls, Graham Fuller, 15:3, 42-43

Workingman’s Death, Paul Arthur, 32.4, 80.

World According to Sesame StreetThe, Jonathan Maurer, 32:1, 88

World ApartA, Diana Sippl, 17:1, 33-35

World at War, The, Alan Rosenthal, 9:2, 7

WorldThe, Robert Koehler, 30:4, 56-57

WR: Mysteries of the Organism, Joan Mellen, 5:1, 18-21

Wrestling with Manhood, Lawrence Daressa, 29:2, 96

Wuthering Heights, Jonathan Murray, 38.1, 57-59

Xiu-Xiu: The Sent Down Girl, Pauline Chen, 24:4, 40-41

Y Tu Mamá También, Pat Aufderheide, 27:1, 32-33

Year My Parents Went on VacationThe, Karen Backstein, 33:2, 54-55

Year of Living DangerouslyThe, Paul Elitzik, 13:2, 43-45

Yoo-Hoo, Mrs. Goldberg, Leonard Quart, 34:4, 80

You Have Struck a Rock!, Joe Margolis, 12:4, 55

Young and Beautiful, Jonathan Murray, 39.3, 50–52

Z, Dan Georgakas, 35.2, 75

Z, Gary Crowdus, 27:4, 52-53       

Zazie dans le Métro, Morty Schiff, 18:2, 34

Zelary, Louis Menashe, 30:1, 80

Zelig, Leonard Quart, 13:2, 42-43

Zero Dark Thirty, Susan L. Carruthers, 38.2, 50-52

Zodiac, Robert Koehler, 32:3, 73-75

 

 

BOOK REVIEWS

Abel, Marco, The Counter-Cinema of the Berlin School, Christina Gerhardt, 39.2, 66–68

Adair, Gilbert, Flickers: An Illustrated Celebration of 100 Years of Cinema, Thomas McGonigle, 22:2, 61

Aldgate, Anthony, Cinema and History: British Newsreels and the Spanish Civil War, Martin A, Jackson, 10:1, 62-63

Alexander, William, Film on the Left: American Documentary Film from 1931-1942, Richard Linnett, 12:2, 53-54

Allen, Richard, Hitchcock's Romantic Irony, David Greven, 33:3, 78

Altman, Rick, Film/Genre, J. David Slocum, 26:2, 56-57

Anderegg, Michael, Cinematic Shakespeare, Sidney Gottlieb, 34:4, 65-67

—————, Orson Welles, Shakespeare, and Popular Culture, Courtney Lehmann, 26:1, 62-66

Anderson, John, Edward Yang, Saul Austerlitz, 31:2, 77-78

Anderson, Lindsay, About John Ford, Raymond Durgnat, 12:4, 56-58

Andrew, Dudley, André Bazin, R.A. Higgins. 9:2, 52-53

—————, Concepts in Film Theory, Andrew Horton, 14:1, 55

—————, Mists of Regret: Culture and Sensibility in Classic French Film, Gilberto Perez, 21:4, 54-55

Angelucci, Gianfranco: The Final Dreams of Federico Fellini, Peter Bondanella, 29:2, 90

Anger, Kenneth, Hollywood Babylon, Al Auster, 7:1, 44

Archibald, David, The War That Won’t Die: The Spanish Civil War in Cinema, Andrew H. Lee, 38.4, 74-76

Arlen, Michael J., Living Room War, Tom Brom, 4:3, 42-43

Armes, Roy, Third World Filmmaking and the West, Robert Stam, 16:3, 58-59

Aronson, James, Packaging the News, Dan Georgakas, 4:4, 33-34

—————, The Press and the Cold War, Dan Georgakas, 4:4, 33-34

Arthur, Paul: A Line of Sight: American Avant-Garde Film Since 1965, Brian L. Frye, 30:3, 81-82

Arvon, Henri, Marxist Esthetics, Gary Crowdus, 6:4, 48-49

Atkinson, Michael, Exile Cinema: Filmmakers at Work Beyond Hollywood, Andrew Tracy, 34:1, 73-74

Aufderheide, Pat, The Daily Planet: A Critic on the Capitalist Cultural Beat, Brian Cogan, 26:1, 68-69

Aufderheide, Patricia, Documentary Film: A Very Short Introduction, Melis Behlil and Louise Spence, 34:1, 79-81

Auster, Al and Leonard Quart, How the War Was Remembered: Hollywood and Vietnam, Cindy Fuchs, 17:2, 58-59

Austerlitz, Saul, Another Fine Mess: A History of American

—————,Film Comedy, Adam Nayman, 36.2, 70-71

Bach, Steven, Final Cut: Dreams and Disaster in the Making of Heaven’s Gate, Foster Hirsch, 14:4, 53-54

————— , Leni: The Life and Work of Leni Riefenstahl, Barton Byg, 33:1, 81-83

Baddeley, W. Hugh, The Technique of Documentary Film Production, Gary Crowdus, 1:4, 24 & 34

Bailey, Jason, Pulp Fiction: The Complete Story of Quentin Tarantino’s Masterpiece, Calum Marsh, 39.2, 62–63

Baird, Jay W., The Mythical World of Nazi Propaganda, Lenny Rubenstein, 7:2, 46-48

Baker, Aaron, Contesting Identities: Sports in American Film, Leger Grindon, 29:1, 85-86

—————, Steven Soderbergh, Peter Tonguette, 37.2, 68-69

Baker, Ellen R, On Strike and On Film: Mexican American Families and Blacklisted Filmmakers in Cold War America, Larry Ceplair, 32:3, 96-97

Balseiro, Isabel and Masilela, Ntongela, To Change Reels: Film and Film Culture in South Africa, Charisse Louw, 29:2, 87-88

Banks, Miranda J., The Writers: A History of American Screenwriters and Their Guild, Larry Ceplair, 40.3, 78

Bandy, Mary Lea and Monda, Antonio, The Hidden God: Film and Faith, Brian Frye, 29:4, 61-62

Bandy, Mary Lea and Kevin Stoehr, Ride, Boldly Ride: The Evolution of the American Western, Thomas Doherty, 38.3, 64-65

Barnard, Tim, ed., Argentine Cinema, Dennis West, 16:1-2, 82-83

Barnes, Alan, Sherlock Holmes on Screen: The Complete Film and TV History, Colin Fleming, 37.3, 68-69

Barnouw, Erik, A Tower in Babel, The Golden Web and The Image Empire, Tom Brom, 5:1, 23-25

—————, Documentary: A History of the Non-Fiction Film, Udayan Gupta, 8:2, 54-55

Barr, Charles, ed., All Our Yesterdays: 90 Years of British Cinema, Leonard Quart, 15:4, 56

Barrios, Richard, Screened Out: Playing Gay in Hollywood from Edison to Stonewall, David Greven, 28:2, 58-59

Barry, Kevin, The Dead, Martin McLoone, 31:3, 75

Barsam, Richard M., Filmguide to Triumph of the Will, Lenny Rubenstein, 7:2, 46-48

—————,Nonfiction Film: A Critical History, Udayan Gupta, 8:2, 54-55

—————, Nonfiction Film: Theory and Criticism, Udayan Gupta, 8:2, 54-55

Barton, Ruth and Harvey O'Brien, Keeping It Real: Irish Film and Television, Martin McLoone, 31:3, 74-77

Barton, Ruth, Irish National Cinema, Martin McLoone, 31:3, 74-77

—————, Jim Sheridan: Framing the Nation, Martin McLoone, 31:3, 74-77

Basinger, Jeanine, A Woman’s View: How Hollywood Spoke to Women 1930–1960, Barbara Quart, 20:3, 67-68

—————, I Do and I Don’t: A History of Marriage in the Movies, Maria            DiBattista, 38.4, 60-70

 

—————, The World War II Combat Film: Anatomy of a Genre, Rob Edelman, 15:2, 54-55

Baskar, Nil and Gabe Klinger, Joe Dante, Michael Pattison, 39.3, 71–72

Bazin, André, Orson Welles, R.A. Higgins, 9:2, 52-53

Bazin, André (Written by) and Dudley Andrew (Edited and Translated by), André Bazin’s New Media, Nafis Shafizadeh, 40.4, 72–73

Beard, William, Into the Past: The Cinema of Guy Maddin, John Semley, 35.4, 65-66

Beauchamp, Cari, Joseph P. Kennedy Presents: His Hollywood Years, Patrick McGilligan, 34:2, 92-93

Bellocchio, Marco, China is Near: Writings on Film, Gary Crowdus, 3:2, 30

Bellos, David, Jacques Tati, Jonathan Rosenbaum, 25:3, 61 & 39

Benamou, Catherine, It's All True: Orson Welles's Pan-American Odyssey, Sidney Gottlieb, 33:2, 72-75

Berg, Charles Ramirez, Cinema of Solitude, Dennis West, 20:4, 60

Bergan, Ronald, Jean Renoir: Projections of Paradise, Alan Williams, 22:1, 59-60

Bergman, Ingmar, Images: My Life in Film, Leonard Quart, 20:4, 60

—————, The Magic Lantern: An Autobiography, Leonard Quart, 17:1, 44-45

Berthomé, Jean-Pierre & François Thomas, Orson Welles at Work, Peter Tonguette, 33:4, 77-78

Besas, Peter, Behind the Spanish Lens: Spanish Cinema Under Fascism and Democracy, Annette Insdorf, 15:1, 51-52

Bickerton, Emilie, A Short History of Cahiers du cinéma, Steven Erickson, 35.3, 60-62

Biesen, Sheri Chenin, Blackout: World War II and the Origins of Film Noir, Charles Maland, 31:3, 82-83

Bird, Robert, Andrei Tarkovsky, Louis Menashe, 34.2, 86-87

Biskind, Peter (Edited by), My Lunches with Orson: Conversations Between Henry Jaglom and Orson Welles, Eric Kohn, 39.1, 70–71

—————, Seeing is Believing: How Hollywood Taught Us to Stop Worrying and Love the Fifties, Elayne Rapping, 13:3, 52-53

—————, Star: How Warren Beatty Seduced America, Thomas Doherty, 35.4, 61-62

Black, Gregory D., Hollywood Censored: Morality Codes, Catholics, and the Movies, Thomas Doherty, 22:3, 52-54

Blaetz, Robin, Women's Experimental Cinema: Critical Frameworks, 33:3, 80-81

Black Film Center/Archive, Indiana University, African Americans in Cinema: The First Half Century, Clifford Thompson, 29:4, 64-66

Bloemheuvel, Marenete, Jaap Guldemond and Giovanna Fossati, Found Footage: Cinema Exposed, Leo Goldsmith, 38.3, 67-68

Bobo, Jacqueline, Black Women Film & Video Artists, Mia L. Mask, 24:1, 91

Bock, Audle, Japanese Film Directors, Bill Thompson, 9:3, 63

Bodnar, John: Blue Collar Hollywood: Liberalism, Democracy, and Working People in American Film, Larry Ceplair, 29.3, 64-65.

Bogdanovich, Peter, John Ford, Gary Crowdus, 2:3, 18-19

—————, John Ford, R.A. Higgins, 9:4, 55

Bogle, Donald, Bright Boulevards, Bold Dreams: The Story of Black Hollywood, Patrick McGilligan, 30:4, 73-74

—————, Dorothy Dandridge: A Biography, Ed Guerrero, 23:4, 60-61

Bondanella, Peter, Hollywood Italians: Dagos, Palookas, Romeos, Wise Guys, and Sopranos, 30:1, 65-66

Bordwell, David and Noël Carroll, Post-Theory: Reconstructing Film Studies, Tony Pipolo, 23:1, 56-58

Bordwell, David, Janet Staiger and Kristin Thompson, The Classical Hollywood Cinema: Film Style and Mode of Production to 1960, Thomas Schatz, 14:3, 53-54

Bosworth, Patricia, Montgomery Clift: A Biography, Thomas Waugh, 10:1, 58-59

Bowser, Pearl and Louis Spence, Writing Himself Into History: Oscar Micheaux, His Silent Films, and His Audiences, Alison McMahan, 26:4, 89-90

Boyle, Deirdre, Video Classics: A Guide to Video Art and Documentary Tapes, Dan Georgakas, 15:1, 55

Brando, Marlon with Robert Lindsey, Brando: Songs My Mother Taught Me, James Naremore, 21:1-2, 92-94

Braudy, Leo, The World in a Frame—What We See in Films, Robert Silberman, 8:3, 56-57

Brecht, Bertolt, Sur le Cinéma, Julia Lesage, 5:2, 34-37

Brenez, Nicole, Abel Ferrarra, Steve Erickson, 33:3, 79-80

Bright, John, Worms in the Winecup: A Memoir, Paul Buhle, 28:3, 58-59

Brizio-Skov, Flavia, Popular Italian Cinema: Culture and Politics in a Postwar Society, Christoph Huber, 37.3, 64-66

Brode, Douglas, Shakespeare in the Movies: From the Silent Era to Shakespeare in Love, Courtney Lehmann, 26:1, 62-66

Brody, Richard, Everything is Cinema: The Working Life of Jean-Luc Godard, David Sterritt, 34:1, 72-73

Bromley, Carl, ed., Cinema Nation: The Best Writing on Film From The Nation, 1913-2000, Phillip Lopate, 26:3, 58-59

Bronner, Stephen Eric and Douglas Kellner, eds., Passion and Rebellion: The Expressionist Heritage, John D. Barlow, 13:3, 54-55

Brown, Royal S., Film Musings: A Selected Anthology from Fanfare Magazine, Claudia Gorbman, 33:3, 81-82

Brown, William, Dina Iordanova and Leshu Tochin, Moving People, Moving Images: Cinema and Trafficking in New Europe, Pamela Donovan, 36.2, 77-78

Brownlow, Kevin & John Kobal, Hollywood: The Pioneers, Martin A. Jackson, 10:3, 41-42

Brunette, Peter, Roberto Rossellini, Giuliana Bruno, 16:3, 61

Bruno, Giuliana and Maria Nadotti, ed., Offscreen: Woman and Film in Italy, Angela Dalle-Vacche, 17:3, 59 & 64

Brunsdon, Charlotte, Films for Women, Lynne Jackson, 15:3, 53-54

Buchsbaum, Jonathan: Cinema and the Sandinistas: Filmmaking in Revolutionary Nicaragua: 1979-1990, Ana M. Lopez, 29:3, 63-64

—————, Cinéma Engagé: Film in the Popular Front, Alan Williams, 17:3, 58-59

Buford, Kate, Burt Lancaster: An American Life, Patrick McGilligan, 25:4, 57-58

Buhle, Paul and Dave Wagner, A Very Dangerous Citizen: Abraham Lincoln Polonsky and the Hollywood Left, James Naremore, 26:4, 84-85

—————, Hide in Plain Sight: The Hollywood Blacklistees in Film and Television 1950-2002, Ron Simon, 29:2, 84-85

Buhler, Stephen M., Shakespeare in the Cinema, Kenneth Rothwell, 28.1, 52-54

Bullert, B.J., Public TelevisionPolitics & the Battle Over Documentary Film, Marco Calavita, 23:4, 59-60

Buñuel, Luis, An Unspeakable Betrayal: Selected Writings of Luis Buñuel, Randall Conrad, 25:4, 60-61

—————, My Last Sigh: The Autobiography of Luis Buñuel, Jay Leyda, 13:3, 53-54

Burder, I., The Technique of Editing l6mm Films, Gary Crowdus, 2:1, 26

Burgoyne, Robert, Film Nation: Hollywood Looks at U.S. History, Christopher Sharrett, 24:1, 92

Burnett, Mark Thornton and Ramona Wray, eds., Shakespeare, Film, Fin de Siècle, Courtney Lehmann, 26:1, 62-66

Burns, E. Bradford, Latin American Cinema Film and History, Julianne Burton, 6:4, 48

Burt, Richard, ed., Shakespeare After Mass Media, Kenneth Rothwell, 28:1, 52-54.

Burton, Julianne, ed., Cinema and Social Change in Latin America: Conversations with Filmmakers, Dennis West, 16:1-2, 82-83

Butters, Gerald R, Jr., Banned in Kansas: Motion Picture Censorship, 1915-1966, Doug Dibbern, 33:2, 76-78

Cacoulidis, Cleo, Cinema of Outsiders: The Rise of American Independent Film, 25:2, 67-68

Cagin, Seth and Dray Philip, Hollywood Films of the Seventies: Sex, Drugs, Violence, Rock ’n’ Roll & Politics, Kathy Sharpe, 14:1, 58

Callahan, Dan, Barbara Stanwyck: The Miracle Woman, Catherine Russell, 37.3, 61-62

Callow, Simon, Orson Welles: Volume 2: Hello Americans, Jonathan Rosenbaum, 31.4, 88-89.

Cameron, Ian, ed., The Book of Film Noir, Cohn McArthur, 20:4, 56-57

—————,The Films of Jean-Luc Godard, Calvin Green, 4:1, 29-30

Campbell, Russell, Marked Women: Prostitutes and Prostitution in the Cinema, Richard Porton, 32:2, 86-88

Cardinale-Powell, Bryan and Marc DiPaolo (Edited by), Devised and Directed by Mike Leigh, Jonathan Murray, 40.4, 77–78

Carnes, Mark C., Past Imperfect: History According to the Movies, Robert Sklar, 22:1, 57-58

Carney, Ray with Leonard Quart, The Films of Mike Leigh: Embracing the World, John Hill, 26:2, 57-58 & 47

Carney, Ray, Cassavetes on Cassavetes, Jonathan Rosenbaum, 27:1, 52-56

—————, The Films of John Cassavetes, Jonathan Rosenbaum, 27:1, 52-56

—————, John Cassavetes: The Adventure of Insecurity, Jonathan Rosenbaum, 27:1, 52-56

—————, Shadows, Jonathan Rosenbaum, 27:1, 52-56

Carr, Steven, Hollywood and Anti-Semitism: A Cultural History Up to World War II, Art Simon, 27:4, 59-60

Carroll, Brendan G., The Last Prodigy: A Biography of Erich Wolfgang Korngold, Royal S. Brown, 23:3, 50

Cartledge, Paul & Fiona Rose Greenland, Responses to Oliver Stone’s Alexander: Film, History, and Cultural Studies, Tony Pipolo, 35.4, 63-64

Cartmell, Deborah, Interpreting Shakespeare on Screen, Courtney Lehmann, 26:1, 62-66

Caute, David, Joseph Losey, A Revenge on Life, Brian Neve, 21:3, 60

Ceplair, Larry & Steven Englund, The Inquisition in Hollywood, Robert Sklar, 10:4, 41-42

Chadwick, Bruce, The Reel Civil War, Gary W. Gallagher, 27:2, 50-51

Chakravarty, Sumita, National Identity in Indian Popular Cinema, Parag Amladi, 21:4, 59

Cham, Mbye, Exiles: Essays on Caribbean Cinema, Dennis West, 21:4, 58-59

Chan, Anthony B., Perpetually Cool: The Many Lives of Anna May Wong, Richard James Havis, 30:1, 67-69

Chanan, Michael, The Cuban Image: Cinema and Cultural Politics in Cuba, Dennis West, 15:1, 50-51

—————, The Dream That Kicks: The Prehistory and Early Years of Cinema in Britain, Martin Jackson, 11:3, 46-47

—————, The Politics of Documentary, Melis Behill and Louise Spence, 34:1, 79-81

Charity, Tom, John Cassavetes: Lifeworks, Jonathan Rosenbaum, 27:1, 52-56

Chase, Donald, Filmmaking: The Collaborative Art, Dan Georgakas, 7:1, 43-44

Chion, Michel, Audio-Vision: Sound on Screen, Jonathan Rosenbaum, 21:1-2, 94-95

Choi, Jinhee, The South Korean Film Renaissance: Local Hitmakers, Global Provocateurs, Richard James Havis

Christensen, Terry, Reel Politics: American Political Movies from Birth of a Nation to Platoon, Leonard Quart, 16:4, 60

Church, David, Playing With Memories: Essays on Guy Maddin, John Semley, 35.4, 65-66

Ciment, Michel and Kardish, Laurence, eds., Positif 50 Years: Selections from the French Film Journal, 28:2, 54-56

Ciment, Michel, Conversations with Losey, Leonard Quart, 16:1-2, 84-85

Cinemania (CD-ROM), Peter Bates, 20:4, 58-60

Cirino, Robert, Don’t Blame the People: How the News Media Use Bias, Distortion and Censorship to Manipulate Public Opinion, Gary Crowdus, 4:4, 34-35

Clark, Jim, Dream Repairman: Adventures in Film Editing, Gabriella Oldham, 37.3, 66-68

Clarens, Carlos, Classics of Horror: An Illustrated History of the Horror Film, Timothy Bay, 1:2, 26-27

Coates, Paul, The Story of the Lost Reflection, Robert Stam, 15:1, 54

Cohan, Steve and Ina Rae Hark, Screening the Male: Exploring Masculinities in Hollywood Cinema, Pat Dowell, 22:3, 49-51

Cole, Lester, Hollywood Red: The Autobiography of Lester Cole, Lenny Ceplair, 12:2, 54-56

Collet, Jean, Jean-Luc Godard, An Investigation into His Films and Philosophy, Calvin Green, 4:1, 29-30

Comentale, Edward P. & Aaron Jaffe, The Year’s Work in Lebowski Studies, Robert Sklar, 36.1, 68-69

Complete Monty Python’s Flying Circus: All the Words, Lenny Rubenstein, 18:2, 60-61

Connelly, Mark, The IRA on Film and Television, John Hill, 38.3, 70

Conrad, Peter, Orson Welles: The Stories of His Life, Sidney Gottlieb, 30.2, 66-68

Cook, Bruce, Dalton Trumbo, Peter Biskind, 8:1, 54

Cook, David A., Lost Illusions: American Cinema in the Shadow of Watergate and Vietnam, 1970-1979, Maria San Filippo, 28:2, 53-54

Cook, Roger F., Lutz Koepnick, Kristin Kopp, and Brad Prager (Edited by), Berlin School Glossary, Christina Gerhardt, 39.2, 66–68

Cooper, David, Bernard Herrmann’s Vertigo, Royal S. Brown, 27:3, 57-58

Cooper, L. Andrew, Dario Argento, Robert Cashill, 39.1, 73–74

Copjec, Joan, ed., Shades of Noir, Cohn McArthur, 20:4, 56-57

Corber, Robert J., Cold War Femme: Lesbianism, National Identity, and Hollywood Cinema, David Greven, 38.2, 75-77

Cornfield, Robert, Kazan on Directing, Dan Georgakas, 35.1, 77-78

Cousins, Mark, The Story of Film: A Worldwide History from the Host of the BBC's Scene by Scene, Bill Krohn, 31:2, 80-81

Cowie, Peter: Revolution!: The Exposition of World Cinema in the Sixties, Steve Erickson, 30:1, 62-63

Coyne, Michael, Hollywood Goes to Washington: American Politics on Screen, John Fidler, 34:2, 91-92

Cripps, Thomas, Making Movies Black: The Hollywood Message Movie from World War II to the Civil Rights Era, James A. Miller, 20:4, 57-58

Crowdus, Gary, ed., The Political Companion to American Film, Colin McArthur, 21:3, 59

Curtis, James, W.C. Fields: A Biography, Robert Cashill, 28:4, 62-63

Custen, George F., Twentieth Century’s Fox: Darryl F. Zanuck and the Culture of Hollywood, John Belton, 23:3, 48

Cyr, Helen W., The Third World in Film and Video, 1984-1990, Dennis West, 18:4, 57

Dabashi, Hamid, Close Up, Rahul Hamid, 27:2, 53-54

Dalton, David, James Dean—The Mutant King, Timothy Bay, 6:4, 47

Daney, Serge, Postcards from the Cinema, Steve Erickson, 32:4, 68

Dardis, Tom, Keaton, Some Time in the Sun, Timothy Bay, 7:3, 45-46

—————, The Man Who Wouldn’t Lie Down, R.A. Higgins, 10:1, 61-62

Dave, Paul: Visions of England: Class and Culture in Contemporary Cinema, David Archibald, 32:1, 78-79

Davies, Philip and Brian Neve, eds., Cinema, Politics and Society in America, Gerald Dorset, 13:1, 49-50

Davis, Glyn, Superstar: The Karen Carpenter Story, Brain L. Frye, 34:4, 68-69

Davis, Natalie Zemon, Slaves on Screen: Film and Historical Vision, Robert Brent Toplin, 26:2, 56-57

Davis, Peter, In Darkest Hollywood: Exploring the Jungles of Cinema’s South Africa, Helen Kapstein, 23:1, 60

de Baecque, Antoine, Camera Historica: The Century in Cinema, David Sterritt, 38.1, 71-72

de Baecque, Antoine, & Serge Toubiana, Truffaut: A Biography, Gilberto Perez, 25:1, 55-56

de Beauvoir, Simone, Brigitte Bardot and the Lolita Syndrome, Renée Delforge, 5:3, 61-62

de la Colina, José and Tomàs Perez Turrent, Objects of Desire: Conversations with Luis Buñuel, Franklin Rosemont, 20:1, 56-57

de Lauretis, Teresa, Technologies of Gender: Essays on Theory, Film in Fiction, Karen Jaehne, 17:1, 42-44

Dean, Joan Fitzpatrick, Dancing at Lughnasa, Martin McLoone, 31:3, 75

Degand, Claude, Le Cinéma... Cette Industrie, Thomas H. Guback, 5:4, 57-58

Delmar, Rosalind, Joris Ivens: 50 Years of Filmmaking, Mitchell Abidor, 10:4, 43

Deming, Barbara, Running Away from Myself: A Dream Portrait of America Drawn from the Films of the 40s, Joan Mellen, 4:4, 30-31

Denby, David, Do the Movies Have a Future?, Michael Sandlin, 38.2, 68-69

Deschner, Donald, The Films of Spencer Tracy, Gary Crowdus, 2:3,19

Desser, David, Eros Plus Massacre: An Introduction to the Japanese New Wave Cinema, Catherine Russell, 16:4, 58-59

Devlin, Albert J. and Marlene J. Devlin (Edited by), The Selected Letters of Elia Kazan, Dan Georgakas, 40.1, 77–78

Diawara, Manthia, ed., Black American Cinema, James A. Miller, 20:4, 57-58

Dickens, Homer, The Films of Marlene Dietrich, Gary Crowdus, 2:1, 27-28

Dimendberg, Edward, Film Noir and the Spaces of Modernity, Adrian Martin, 30:2, 69-70

Dixon, Wheeler Winston, ed., Film Genre 2000, J. David Slocum, 26:2, 56-57

Dixon, Wheeler Winston, The Early Film Criticism of François Truffaut, Jonathan Rosenbaum, 20:2, 58-59

Dmytryk, Edward, Odd Man Out: A Memoir of the Hollywood Ten, Dan Georgakas, 22:2, 58-59

Doane, Mary Ann, The Desire to Desire: The Woman’s Film of the 1940s, Karen Jaehne. 16:1-2, 85 & 89

Doherty, Thomas, Cold War, Cool Medium: Television, McCarthyism, and American Culture, Ron Simon, 29:2, 84-85

—————, Hollywood and Hitler, 1933-1939, Clayton Koppes, 38.4, 72-73

—————, Hollywood's Censor: Joseph I. Breen and the Production Code Administration, Doug Dibbern, 33:2, 76-78

—————, Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema, 1930-1934, Thomas Schatz, 25:3, 56-57

—————, Projections of War: Hollywood, American Culture, and World War II, Robert Sklar, 21:3, 58

Dönmez-Colin, Gönül: Women, Islam, and Cinema, Tarek al-Ariss, 30.3, 82-83.

Doty, Alexander, Flaming Classics: Queering the Film Canon, Melissa Anderson, 25:4, 59-60

—————, Making Things Perfectly Queer: Interpreting Mass Culture, Michael Bronski, 21:1-2, 90-92

Drazin, Charles, The Finest Years: British Cinema of the 1940s, John Cunningham, 24:4, 54-55

Dunne, John Gregory, The Studio, Gary Crowdus, 3:1, 23

Dunne, Nathan, Tarkovsky, Louis Menashe, 34.2, 86-87

Dunne, Philip, Take Two: A Life in Movies and Politics, Peter Biskind, 11:2, 40-42

Durgnat, Raymond, A Mirror for England: British Movies from Austerity to Affluence, Calvin Green, 5:3, 59-60

—————, Jean Renoir, Cal Green, 7:2, 48

—————, Luis Buñuel, Gary Crowdus, 2:3, 18-19

Dyer, Geoff, Zona, Louis Menashe, 37.4, 69-70

Dyer, Richard, Gays and Film, Cobbett Steinberg, 8:4, 46-47

—————, Pastiche, Martha P. Nochimson, 33:1, 85-86

—————, Nino Rota: Music, Film and Feeling, Royal S.

Brown, 36.4, 75-76

Edwards, Anne, Early Reagan, Richard Porton, 16:3. 59-61

—————, Leaving Home: A Hollywood Writer’s Years Abroad, Patrick McGilligan, 38.4, 77-78

Egoyan, Atom and Ian Balfour, Subtitles: On the Foreignness of Film, Roy Grundmann, 30:3, 79-80

Ehmann, Antje & Kodwo Eshun, Harun Farocki: Against What? Against Whom?, Stuart Liebman, 36.1, 75-76

Eisenstein, Sergei, Disney, Edited by Oksana Bulgakowa and Dietmar Hochmuth, Stuart Liebman, 39.1, 77–78

—————, Immoral Memories: An Autobiography, Vance Kepley. Jr., 13:4, 55

Eisner, Lotte H., The Haunted Screen, Lenny Rubenstein, 6:3, 40

Eliot, Marc, Walt Disney: Hollywood’s Dark Prince, Jon Lewis, 20:2, 57-58

Elley, Derek, The Epic Film: Myth and History, John Nangle, 14:2, 51-52

Ellison, Harlan, The Glass Teat, Noë Goldwasser, 3:4, 27 & 32

Elsaesser, Thomas, German Cinema—Terror and Trauma: Cultural Memory Since 1945, Stuart Liebman, 40.2, 74–76

Erens, Patricia, The Jew in American Cinema, Thomas Cripps, 14:4, 56

Erens, Patricia, ed., Sexual Stratagems: The World of Women in Film, Deirdre Boyle, 11:4, 53-54

Eszterhas, Joe, Hollywood Animal: A Memoir, Mark Peranson, 29:4, 60-61

Essoe, Gabe, Tarzan of the Movies, Gary Crowdus, 2:3, 19

Evans, Peter William, ed., Spanish Cinema: The Auteurist Tradition, Dennis West, 26:3, 61 & 55

Evans, Peter Williams and Isabel Santaolalla, Luis Buñuel: New Readings, Bill Krohn, 30:1, 66-67

Everett, Anna, Returning the Gaze: A Genealogy of Black Film Criticism, 1909-1949, Clifford Thompson, 27:1, 59

Everson, William K., American Silent Film, Peter Pappas, 10:2, 46-48

Eyman, Scott, Empire of Dreams: The Epic Life of Cecil B. DeMille, Patrick McGilligan, 36.2, 69-70

—————, Ernst Lubitsch: Laughter in Paradise, Patrick McGilligan, 20:3, 68

—————, The Speed of Sound: Hollywood and the Talkie Revolution, Thomas Doherty, 23:3, 51-52

Falicov, Tamara L., The Cinematic Tango: Contemporary Argentine Film, Dennis West, 33:1, 86-87

Falkowska, Janina, Andrzej Wajda: History, Politics, and Nostalgia in Polish Cinema, Stuart Liebman, 34:1, 75-76

Farber, Manny, Negative Space: Manny Farber on the Movies, Jonathan Rosenbaum, 23:4, 58-59

Farley, Fidelma, The Other Eden, Martin McLoone, 31:3, 75

Faulkner, Christopher, The Social Cinema of Jean Renoir, Leger Grindon, 15:2, 53-54

Federation of Film Societies, Filmsurvey 2, Gary Crowdus, 2:1, 28

Feeney, Mark, Nixon at the Movies: A Book about Belief, Charles Meland, 30:4, 71-73

Feldman, Seth R., Dziga Vertov: A Guide to References and Resources, Jay Leyda, 12:1, 40-41

—————.ed., Take Two, Sara McLennan, 14:2, 52-53

Fell, John, L., ed., Film Before Griffith, Anthony Slide, 14:2, 50-51

Ferro, Marc, Cinema and History, Signey Gottlieb, 17:2, 61

Finler, Joel, Stroheim, Gary Crowdus, 2:3, 18-19

Fireman, Judy, ed., TV Book: The Ultimate Television Book, James Monaco, 9:2, 53-54

Fischer, Paul, A Kim Jong-Il Production: The Extraordinary True Story of a Kidnapped Filmmaker, His Star Actress, and a Young Dictator’s Rise to Power, Christoph Huber, 40.4, 69–70

Fisher, Austin, Radical Frontiers in the Spaghetti Western: Politics, Violence and Popular Italian Cinema, Christoph Huber, 37.3, 64-66

Fisher, Jaimey, Christian Petzold, Christina Gerhardt, 39.2, 66–68

Fofi, Goffredo, Il Cinema Italiano: Servi e Padroni, Maria Teresa Ravage, 5:3, 60-61

Foster, David William, Contemporary Argentine Cinema, Ann Marie Stock, 21:3, 61

Frayling, Christopher, Spaghetti Westerns: Cowboys and Europeans from Karl May to Sergio Leone, Gary Crowdus, 11:3, 44-46

Frederiksen, H. Allan, Community Access Video, Tom Brom, 5:2, 33-34

Friar, Ralph and Natasha, The Only Good Indian: The Hollywood Gospel, Dan Georgakas, 6:1 50-51

Friedman, Lester D, Citizen Spielberg, Joseph McBride, 32.2, 80-82

————.ed., Fires Were Started: British Cinema and Thatcherism, Wheeler Winston Dixon, 20:1, 51

Friedman, Lester D, Citizen Spielberg, Joseph McBride, 32.2, 80-82

Frodon, Jean-Michel, Cinema & the Shoah: An Art Confronts the Tragedy of the Twentieth Century, Yosefa Loshitzky, 36.2, 75-77

Fuchs, Daniel, The Golden West: Hollywood Stories, Leonard Quart, 31.2, 81-82

Fujiwara, Chris, Defining Moments in Movies: the Greatest Films, Stars, Scenes, Events That Made Movie Magic, Bill Krohn, 33:4, 70-72

————, Jerry Lewis, Jonathan Rosenbaum, 35.2, 78-79

————, The World and It's Double: The Life and Work of Otto Preminger, Jonathan Rosenbaum, 33:3, 74-75

Fulbright, Senator J.W., The Pentagon Propaganda Machine, Ruth McCormick, 4:3, 46-47

Fuller, Samuel, A Third Face: My Tale of Writing, Fighting and Filmmaking, Bill Krohn, 28:3, 55-56

Gabbard, Krin, Jammin’ at the Margins: Jazz and the American Cinema, David Segal, 22:4, 67 & 49

Gabler, Neal, Walt Disney: The Triumph of the American Imagination, Jonathan Rosenbaum,  32:3, 90-91

Gallagher, Tag, The Adventures of Roberto Rossellini, Peter Bondanella, 24:2-3, 90-91

Garis, Robert, The Films of Orson Welles, Sidney Gottlieb, 30:2, 66-68

Geist, Kathe, The Cinema of Wim Wenders, Ann Harris, 16:4, 61

Germünden, Gerd, Continental Strangers: German Exile Cinema, 1933–1951, Christoph Huber, 40.1, 71–72

Gever, Martha & John Greyson & Pratibha Parmar, Queer Looks: Perspectives on Lesbian and Gay Film and Video, Michael Bronski, 21:1-2, 90-92

Gibbons, Luke, The Quiet Man, Martin McLoone, 31:3. 75

Gilbert, Nora, Better Left Unsaid: Victorian Novels, Hays Code Films, and the Benefits of Censorship, Clayton Koppes, 39.1, 74–75

Gilbey, Ryan, It Don’t Worry Me: The Revolutionary American Films of the Seventies, George Rafael, 29:1, 82-85

Gilliam, Dorothy Butler, Paul Robeson, All American, Cedric Belfrage, 9:1, 49-50

Gilson, René, Jean Cocteau, Gary Crowdus, 2:4, 22

Giovacchini, Saverio, Hollywood Modernism, Paula Rabinowitz, 27:2, 54-55

Giovacchini, Saverio and Robert Sklar, Global Neorealism: The Transnational History of a Film Style, John David Rhodes, 38.2, 73-74

Girgus, Sam B., Clint Eastwood’s America, Michał Oleszczyk, 40.2, 73–74

Gish, Lillian & Ann Pinchot, Lillian Gish: The Movies, Mr. Griffith and Me, Ernest D. Burns, 2:4, 21

Gitlin, Todd, Inside Prime Time, William Boddy, 13:4, 56-57

Gitlin, Todd, Media Unlimited: How the Torrent of Images and Sounds Overwhelms Our Lives, James Monaco, 28:3, 56-57

Gocic, Goran, The Cinema of Emir Kusturica: Notes from the Underground, Andrew Horton, 28:4, 65-66

Godard, Jean-Luc, Introduction to a True History of Cinema and Television, Adrian Martin, 40.1, 68–69

Goldovskaya, Marina, Woman with a Movie Camera: My Life as a Russian Filmmaker, Louis Menashe, 32:4, 66

Gomez, Joseph A., Peter Watkins, James M. Welsh, 10:3, 43-44

Goodwin, Michael and Greil Marcus, Double Feature—Movies and Politics, Joan Mellen, 5:4, 56-57

Goulding, Daniel J., Liberated Cinema: The Yugoslav Experience, David Paul, 15:2, 51-52

————.ed., Post New Wave Cinema in the Soviet Union and Eastern Europe, Karen Jaehne, 17:3, 56-57

Grant, Barry Keith, Britton on Film: The Complete Film Criticism of Andrew Britton, Colin Fleming, 34:4, 67-68

Grant, Lee, I Said Yes to Everything: A Memoir, Patrick McGilligan, 40.3, 74–76

Gray, Michael, Stills, Reels and Rushes: Ireland and the Irish in 20th Century Cinema, Harvey O’Brien, 25:4, 54-57

Green, J. Ronald, Straight Lick: The Cinema of Oscar Micheaux, Alison McMahan, 26:4, 89-90

Greenfield, Jeff, Television: The First Fifty Years, James Monaco, 9:4, 58-59

Gregory, W.A., The Director: A Guide to Modern Theater Practice, Gary Crowdus, 2:2, 18-19

Greven, David, Manhood in Hollywood from Bush to Bush, Michael Joshua Rowin, 35.4, 66-67

————, Psycho-Sexual: Male Desire in Hitchcock, De Palma, Scorsese, and Friedkin, Jaimey Fisher, 39.3, 76–78

Grindon, Leger, Shadows on the Past: Studies in the Historical Fiction Film, Tom Gunning, 21:4, 57- 58

Grindon, Leger, The Hollywood Romantic Comedy: Conventions, History, and Controveries, Martha P. Nochimson, 37.2, 67-68

Groening, Stephen, Cinema Beyond Territory: Inflight Entertainment and Atmospheres of Globalisation, A. S. Hamrah, 40.4, 70–71

Grundmann, Roy, Andy Warhol’s Blow Job, Michael O’Pray, 29:1, 86-87

Guarner, Jose Luis, Roberto Rossellini, Calvin Green, 5:2, 38-39

Guback, Thomas H., The International Film Industry—Western Europe and America Since 1945, Gary Crowdus, 5:1, 26-27

Gubern, Roman and Paul Hammond, Luis Bunuel: The Red Years, 1929-1939, Julie Jones, 37.1, 69-70

Guiles, Fred Lawrence, Hanging on in Paradise, Dan Georgakas, 7:1, 43-44

Gunning, Tom, The Films of Fritz Lang: Allegories of Vision and Modernity, Adrian Martin, 26:2, 54-55

Hames, Peter, The Czechoslovak New Wave, David Paul, 15:2, 51-52

Hamilton, Ian, Writers in Hollywood, 1915-1951, Larry Ceplair, 18:4, 53-55

Hampton, Howard, Born in Flames: Termite Dreams, Dialectical Fairy Tales and Pop Apocalypses, Adam Neyman, 32:4, 67

Hansen, Miriam Bratu, Cinema and Experience: Siegfried Kracauer, Walter Benjamin, and Theodor W. Adorno, Roy Grundmann, 39.3, 74–76

Hanson, Patricia King, exec. ed., The American Film Institute Catalog of Motion Pictures Produced in the United States: Feature Films, 1911-1920, Charles Musser, 17:3, 64

Hardy, Phil, Samuel Fuller, Calvin Green, 4:4, 32-33

Harmetz, Aljean, On the Road to Tara: The Making of Gone With the Wind, Adrienne L. McLean, 23:1, 58-59

Harper, Graeme and Rob Stone, The Unsilvered Screen: Surrealism on Film, David Archibald, 33:3, 76-77

Harrington, Michael, Towards a Democratic Left: A Radical Program for a New Majority, Elise Solomon, 3:2, 29-30

Harris, Mark, Five Came Back: A Story of Hollywood and the Second World War, Clayton Koppes, 39.4, 77–78

—————, Picture at Revolution: Five Movies and the Birth of the New Hollywood, Thomas Doherty, 33:4, 72-74

Hart, Stephen M., A Companion to Latin American Film, Dennis West, 31:1, 77-79

Harvey, James, Romantic Comedy: In Hollywood, from Lubitsch to Sturges, Andrew Horton, 17:1, 44

—————, Watching Them Be: Star Presence on the Screen from Garbo to Balthazar, Tony Pipolo, 39.4, 73–74

Harvey, James, Movie Love in the Fifties, Gilberto Perez, 27:3, 52-53

Haskell, Molly, Frankly, My Dear: Gone with the Wind Revisited, John Fidler, 34:4, 64-65

—————, Holding My Own in No Man’s Land: Women and Men and Film and Feminists, Cynthia Lucia, 23:2, 53-54

Hassannia, Tina, Asghar Farhadi: Life and Cinema, Steve Erickson, 40.4, 73–74

Hatchuel, Sarah, A Companion to the Shakespearean Films of Kenneth Branagh, Courtney Lehmann, 26:1, 62-66

Havis, Richard James, City on Fire: Hong Kong Cinema, 25:2, 66-67

Hayes, Dade and Jonathan Bing, Open Wide: How Hollywood Box Office Became a National Obsession, Saul Austerlitz, 30:2, 71

Hedling, Erik, Lindsay Anderson, Brian Neve, 28:1, 60-61

Hellman, Lillian, Scoundrel Time, Peter Biskind, 7:3, 44

Hennebelle, Guy, Quinze Ans de Cinéma Mondial, Eric Breitbart, 7:1, 45-46

—————, Les Cinémas Africains en 1972, Avril Trajati, 5:3, 62

Herndon, Venable, James Dean—A Short Life, Timothy Bay, 6:4, 47

Herr, Cheryl, The Field, Martin McLoone, 31:3, 75

Herzogenrath, Bernd, Editor: The Films of Tod Browning, Dan Georgakas, 32:2, 88-89

Hewison, Robert, Monty Python, The Case Against, Lenny Rubenstein, 18:2, 60-61

Higham, Charles, Kate, The Life of Katharine Hepburn, Chris Schemering, 7:1, 47

Higham, Charles, Warner Brothers, Dan Georgakas, 7:1, 43-44

Hill, Annette, Shocking Entertainment: Responses to Violent Movies, J. David Slocum, 24:2-3, 93

Hill, John and Kevin Rockett, Film History and National Cinema, 31:3, 74-77

Hill, John, British National Cinema, John Cunningham, 24:4, 54-55

—————, Cinema and Northern Ireland: Film, Culture, and Politics, Oliver William Pattenden, 32:4, 69-70

Hillier, Jim, ed., Cahiers du Cinéma, The 1950s and Cahiers du Cinéma, 1960-1968, Robert Stam, 15:4, 54-56

Hirsch, Foster, Otto Preminger: The Man Who Would be King, Jonathan Rosenbaum, 33:3, 74-75

Hirsch, Foster, Joseph Losey, Raymond Durgnat, 11:2, 42-43

Hoberman, J, & Jonathan Rosenbaum, Midnight Movies, Rob Edelman, 13:2, 53-54

Hoberman, J., An Army of Phantoms: American Movies and the Making of the Cold War, Adam Nayman, 37.1, 74-76

—————, Film After Film: Or, What Became of 21st Century Cinema?, Andrew Schenker, 38.2, 69-70

—————, The Dream Life: Movies, Media, and the Mythology of the Sixties, Bill Krohn, 29:2, 82-83

—————, The Magic Hour: Film a Fin de Siècle, Steve Erickson, 28:4, 64-65

—————, The Red Atlantis: Communist Culture in the Absence of Communism, Louis Menashe, 25:1, 56-57

Hodges, Graham Russell Gao, Anna May Wong: From Laundryman’s Daughter to Hollywood Legend, Richard James Havis, 30:1, 67-69

Hopkins, Mark W., Mass Media in the Soviet Union, Ruth McCormick, 4:2, 45-46

Horne, Gerald, The Final Victim of the Blacklist: John Howard Lawson, Dean of the Hollywood Ten, Larry Ceplair, 32:1, 74-75

Horsley, Jake, Dogville vs. Hollywood, Adam Nayman, 31:4, 94-95

Horton, Andrew, ed., Play It Again, Sam: Retakes on Remakes, Justin Wyatt, 23:4, 61

—————, The Last Modernist: The Films of Theo Angelopoulos, Cleo Cacoulidis, 23:2, 55-56

—————,The Films of George Roy Hill, Karen Jaehne, 14:3, 57

—————, The Films of Theo Angelopoulos: A Cinema of Contemplation, Cleo Cacoulidis, 23:2, 55-56

Howlett, Kathy M., Framing Shakespeare on Film, Courtney Lehmann, 26:1, 62-66

Hoyt, Edwin P., Marilyn, The Tragic Venus, Dan Georgakas, 6:2, 57-58

Hughes, Robert, ed., Masculine–Feminine: A Film by Jean-Luc Godard, Gary Crowdus, 2:4, 21

Hull, David Stewart, Film in the Third Reich, Calvin Green, 3:4, 24-25

Humphries, Reynold, Hollywood’s Blacklists: A Political and Cultural History, Larry Ceplair, 35.2, 83-84

Hurst, Walter E. & Wm. Storm Hale, Motion Picture Distribution (Business and/or Racket), Ray Fischer, 9:1, 50-52

Hess, Roy and Norman Silverstein, The Film Experience, Gary Crowdus, 1:4, 34

Insdorf, Annette, Indelible Shadows: Film and the Holocaust, Karen Jaehne, 13:1, 48-49

—————, Philip Kaufman, Adam Nayman, 38.1, 72-73

Iordanova, Dina & Ragan Rhyne, Film Festival Yearbook 1: The Festival Circuit, Adam Nayman, 35.3, 62-63

Iordanova, Dina, and Ruby Cheung (Edited by),  Film Festival Yearbook 2: Film Festivals and Imagined Communities, Adam Nayman, 35.3, 62-63

—————, Film Festival Yearbook 3: Film Festivals and East Asia, Shelly Kraicer, 37.2, 65-66

Iordanova, Dina, ed, The Cinema of the Balkans, N.Y. Potamitis, 32:1, 77-78

Iordanova, Dina, Cinema of Flames, Andrew Horton, 27:2, 55-56

—————, Emir Kusturica, Andrew Horton, 28:4, 65-66

Iordanova, Dina and Leshu Torchin, Film Festival Yearbook 4: Film Festivals and Activism, Maria Garcia, 38.1, 77-78

Isenberg, Noah, Detour, Bill Krohn, 34:3, 64-66

—————, Edgar G. Ulmer: A Filmmaker at the Margins, Christoph Huber, 40.1, 71–72

Itkzoff, David, Mad as Hell: The Making of Network and the Fateful Vision of the Angriest Man in the Movies, Jonathan Kirshner, 39.4, 76–77

Ivens, Joris, The Camera and I, Bob Summers, 3:4, 26-27

Jackson, Russell, ed., The Cambridge Companion to Shakespeare on Film, Kenneth Rothwell, 28:1, 52-54

Jacobs, Diane, Hollywood Renaissance, Ruth McCormick, 9:3, 61-63

Jacobs, Lewis, ed., The Documentary Tradition—From Nanook to Woodstock, Bob Summers, 5:2, 39-40

Jacobs, Lewis, The Documentary Tradition, Udayan Gupta, 8:2, 54-55

—————, The Emergence of Film Art, Gary Crowdus, 2:4, 23

James, David E. & Rick Berg, The Hidden Foundation: Cinema and the Question of Class, Susan Ryan, 23:1, 58

James, David E., The Most Typical Avant-Garde: History and Geography of Minor Cinema in Los Angeles, Michael Sicinski, 31:2, 74-76

James, David, Allegories of Cinema: American Film in the Sixties, Art Simon, 17:3, 57-58

Jeffords, Susan, Hard Bodies: Hollywood Masculinity in the Reagan Era, Pat Dowell, 22:3, 49-51

Jhaveri, Shanay, Outsider: Films on India 1950-1990, Girish Shambu, 36.1, 74-75

Jobes, Gertrude, Motion Picture Empire, Ruth McCormick, 5:1, 28

Johnson, Randal & Robert Stam, eds., Brazilian Cinema, Dennis West, 12:3, 49

Johnson, Randal, Cinema Novo X 5: Masters of Contemporary Brazilian Film, Dennis West, 14:1, 57-58

Johnson, Vida T. and Graham Petrie, The Films of Andrei Tarkovsky: A Visual Fugue, Louis Menashe, 22:4, 64

Johnson, William Bruce, Miracles and Sacrilege: Roberto Rossellini, the Church, and Film Censorship in Hollywood, Doug Dibbern, 33:2, 76-78

Jones, Kent, Olivier Assayas, Steve Erickson, 38.2, 72-73

—————, Physical Evidence: Selected Criticism, Andrew Tracy, 33:1, 83-84

Juhasz, Alexandra and Lerner, Jesse: F Is for Phony: Fake Documentary and Truth’s Undoing, Michael Sicinski, 32:3, 87-89

Kael, Pauline, Going Steady, Ruth McCormick, 3:4, 23

—————, Kiss Kiss Bang Bang, Gary Crowdus, 1:4, 23-24

Kaes, Anton, From Hitler to Heimat: The Return of History as Film, Kevin Jack Hagopian, 17:4 51-52

Kaganovsky, Lilya and Masha Salazkina (Edited by), Sound, Speech, Music in Soviet and Post-Soviet Cinema, Michael Joshua Rowin, 40.2, 78–79

Kahana, Jonathan, Intelligence Work: The Politics of American Documentary, Susan Ryan, 35.1, 82-83

Kaplan, E. Ann, Woman & Film: Both Sides of the Camera, Lynn Zeavin and Adrienne Harris, 14:1, 56-57

Karalis, Vrasidas, A History of Greek Cinema, Dan Georgakas, 37. 4, 77-78

Kauffmann, Stanley, Ten Great Films, Peter Tonguette, 38.4, 73-74

Kawin, Bruce, Faulkner and Film, Gil Muller, 8:3, 57-58

Kehr, Dave, When Movies Mattered: Reviews from a Transformative Decade, Patrick Z. McGavin, 37.1, 72-74

Keller, Gary D., ed., Chicano Cinema: Research, Reviews and Sources, Dennis West, 15:1, 55

Kellner, Douglas and Dan Streible, eds., Emile de Antonio: A Reader, Susan Ryan, 26:3, 59-60

Kellow, Brian, Pauline Kael: A Life in the Dark, Nick Dawson, 37.4, 76-77

Kendall, Elizabeth, The Runaway Bride: Hollywood Romantic Comedy in the 1930s, Robert Dunbar, 18:4, 56-57

Kenny, Glenn, Robert De Niro: Anatomy of an Actor, Adam Nayman, 40.2, 71–72

Kepley, Vance, Jr., In the Service of the State: The Cinema of Alexander Dovzhenko, Jay Leyda, 15:3, 54

Keyser, Les and Barbara, Hollywood and the Catholic Church: The Image of Roman Catholicism in American Movies, Angela Bonavolgia, 14:4, 55-56

Kiernan, Thomas, The Roman Polanski Story, David Packman, 11:1, 44-45

Kimber, Shaun, Neal King, Peter Krämer, Stevie Simkin, “Controversies” Series Books: Henry: Portrait of a Serial Killer, The Passion of the Christ, A Clockwork Orange, Straw Dogs, John Semley, 38.1, 75-77

Kimmel, Michael, Manhood in America: A Cultural History, Pat Dowell, 22:3, 49-51

Kindem, Gorham, ed., The American Movie Industry: The Business of Motion Pictures, Charles Musser, 14:2, 49-50

King, Geoff, Indiewood, USA: Where Hollywood Meets Independent Cinema, Sebastian Manley, 34:4, 69-70

King, John, An Argentine Passion: Maria Luisa Bemberg and Her Films, Dennis West, 28:2, 57-58

Kirkham, Pat and Janet Thuman, Me Jane: Masculinity, Movies, and Women, Pat Dowell, 22:3, 49-51

—————, You Tarzan: Masculinity, Movies and Men, Pat Dowell, 22:3, 49-51

Kitses, Jim, Horizons West: Directing the Western from John Ford to Clint Eastwood, Jared Rapfogel, 30:4, 68-70

Klawans, Stuart, Film Follies: The Cinema Out of Order, Michael Sprinker, 25:1, 60-61

—————, Left in the Dark, Gerald Peary, 27:3, 55-56

Klein, Amanda Ann, American Film Cycles: Reframing Genres, Screening Social Problems and Defining Subcultures, Andrew Schenker, 37.3, 69-70

Klevan, Andrew, Barbara Stanwyck, Catherine Russell, 39.4, 71–73

Kline, Herbert, ed., New Theatre and Film 1934 to 1937: An Anthology, Robert Sklar, 16:1-2, 83-84

Knabb, Ken, ed. and trans., Guy Debord: Complete Cinematic Works, Jeremy Smith, 29:2, 86-87

Kobal, John, Marlene Dietrich, Gary Crowdus, 2:1, 27

Kolker, Robert Philip, Bernardo Bertolucci, Christopher Sharrett, 15:2, 52-53

—————, The Alternating Eye: Contemporary International Cinema, Rob Silberman, 14:1, 54-55

Koresky, Michael, Terence Davies, Jamie Dunn, 40.2, 76–77

Kramer, Steven Philip & James Michael Welsh, Abel Gance, Raymond Durgnat, 11:2, 42-43

Krutknik, Frank, Steve Neal, Brian Neve, & Peter Stanfield, “Un-American” Hollywood: Politics and Films in the Blacklist Era, Dan Georgakas, 34.3 69-70

Kuhn, Annette, Women’s Pictures: Feminism and Cinema, Lynn Zeavin and Andrienne Harris, 14:1, 56-57

Kurosawa, Akira, Something Like an Autobiography, Jay Leyda, 13:4, 55-56

Labuza, Peter, Approaching the End: Imagining Apocalypse in American Film, Joseph Yanick, 40.2, 77–78

LaGuardia, Robert, Monty, A Biography of Montgomery Clift, Thomas Waugh, 10:1, 58-59

Lambert, Gavin, Mainly About Lindsay Anderson, Brian Neve, 28:1, 60-61

Landerman, David, Driving Visions: Exploring the Road Movie, David Segal, 28.2, 61

Lang, Berel and Williams, Forrest, eds., Marxism and Art—Writings in Aesthetics and Criticism, Gary Crowdus, 6:4, 48-49

Lang, Robert, Masculine Interests: Homoerotics in Hollywood Films, David Greven, 28.2, 58-59.

Lant, Antonia, Red Velvet Seat: Women’s Writing on the First Fifty Years of Cinema, Maria DiBattista, 32:3, 92-93

Lardner, Jr., Ring, I’d Hate Myself in the Morning, Paul Buhle, 26:3, 60-61

Larner, Jesse, Forgive Us Our Spins: Michael Moore and the Future of the Left, Adam Nayman, 32:2, 85-86

Lawton, Anna, Imaging Russia 2000: Film and Facts, Andrei Khrenov, 31:2, 78-80

Lax, Eric, Woody Allen: A Biography, Leonard Quart, 18:4, 56

Le Fanu, Mark, Mizoguchi and Japan, Chris Fujiwara, 31:3, 81-82

Leab, Daniel, Orwell Subverted: The CIA and the Filming on Animal Farm, Susan Ryan, 33:2, 78-79

Lehman, Peter, Running Scared: Masculinity and Representation of the Male Body, Pat Dowell, 22:3, 49-51

Lehmann, Courtney and Starks, Lisa S., eds., Spectacular Shakespeare, Kenneth Rothwell, 28.1, 52-54

Leibfried, Phillip and Chei Mi Lane, Anna May Wong: A Complete Guide to Her Film, Stage, Radio, and Television Work, Richard James Havis, 30:1, 67-69

Leiser, Erwin, Nazi Cinema, Lenny Rubenstein, 7:2, 46-48

Lethem, Jonathan, They Live, Adam Nayman, 36.3, 65-66

Levin, G. Roy, Documentary Explorations: 15 Interviews with Film-makers, Bob Summers, 5:2, 39-40

Levy, Emanuel (Editors), Citizen Sarris, American Film Critic, Adrian Martin, 27:1, 58-59

—————, John Wayne: Prophet of the American Way of Life, Pat Dowell, 18:1, 52-53

—————, Vincente Minnelli: Hollywood’s Dark Dreamer, Peter Tonguette, 35.1, 84-85

Sterritt, David, Mad To Be Saved: The Beats, the ’50s and Film, Joel Lewis, 25:2, 68-69

Lewis, Jon, The End of Cinema as We Know It: American Cinema in the Nineties, Michael Sicinksi, 27:4, 57-59

Lewis, Randolph, Emile de Antonio: Radical Filmmaker in Cold War America, Susan Ryan, 26:3, 59-60

Leyda, Jay, ed., Film Essays and a Lecture by Sergei Eisenstein, Bill Nichols, 4:2, 42-43

Liber, George O., Alexander Dovzhenko: A Life in Soviet Film, Gilberto Perez, 29.1, 79-81

Liebman, Stuart, Claude Lanzmann's Shoah: Key Essays, Berel Lang, 33:4, 76-77

Liehm, Mira and Antonin J., The Most Important Art: Eastern European Film After 1945, Daniel Bickley, 11:3, 43-44

Lim, Dennis, The Village Voice Film Guide: 50 Years of Movies from Classics to Cult Hits, Bill Krohn, 33:1, 89

Lindlof, Thomas R., Hollywood Under Siege: Martin Scorsese, The Religious Right, and the Culture Wars, Pamela Grace, 34:2, 87-89

Lippard, Chris, ed., By Angels Driven: The Films of Derek Jarman, Justin Wyatt, 23:2, 52-53

Litvak, Joseph, The Un-Americans: Jews, The Blacklist, and Stoolpigeon Culture, Art Simon, 36.1, 69-70

Litwak, Mark, Reel Power: The Struggle for Influence and Success in the New Hollywood, Karen Jaehne, 15:3, 51

Lloyd, Stephen: William Walton: Muse of Fire, Royal S. Brown, 29:2, 88-89

LoBianco, Lorraine and David Thompson, Jean Renoir Letters, Alan Williams, 22:1, 59-60

Lombardi, Frederic, Allan Dwan and the Rise and Decline of the Hollywood Studios, Nick Pinkerton, 39.2, 60–61

Lopate, Phillip, Totally Tenderly Tragically: Essays and Criticism from a Lifelong Love Affair with the Movies, James Monaco, 25:2, 65-66

Lopate, Phillip, American Movie Critics: An Anthology From the Silents Until Now, Robert Sklar, 31.4, 89-90

Lorence, James J., The Suppression of Salt of the Earth: How Hollywood, Big Labor, and Politicians Blacklisted a Movie in Cold War America, Tom Miller, 25:3, 59-60

Lucanio, Patrick, Them or Us: Archetypal Interpretations of Fifties Alien Invasion Films, Adam Knee, 16:4, 61

Lucas, Tim, Mario Bava: All the Colors of the Dark, Robert Cashill, 33:2, 75-76

Lucia, Cynthia, Framing Female Lawyers: Women on Trial on Film, Yvonne Tasker, 31:1, 79-80

Lucia, Cynthia, Roy Grundmann, and Art Simon (Editors), The Wiley-Blackwell History of American Film, John Belton, 37.4, 70-72

Lupton, Catherine, Chris Marker: Memories of the Future, Steve Erickson, 31:1, 76-77

MacCabe, Colin, Godard: A Portrait of the Artist at Seventy, Jonathan Rosenbaum, 29:3, 58-59

Macdonald, Nicholas, In Search of La Grande Illusion: A Critical Appreciation of Jean Renoir’s Elusive Masterpiece, Max Nelson, 39.3, 72–73

MacKillop, James, ed., Contemporary Irish Film: From The Quiet Man to Dancing at Lughnasa, Harvey O’Brien, 25:4, 54-57

Maddin, Guy, From the Atelier Tovar: Selected Writings, Brian Frye, 29:2, 85-86

Magill’s Survey of the Cinema (CD ROM), Peter Bates, 20:4, 58-60

Malevich, Kazimir with Bulgakowa, Oksana, ed., The White Rectangle: Writings on Film, Stuart Liebman, 29:3, 60-63

Mailer, Norman, Marilyn, Dan Georgakas, 6:2, 57-58

Maltby, Richard, Harmless Entertainment: Hollywood and the Ideology of Consensus, Robert Sklar, 13:2, 52-53

Mamber, Stephen, Cinéma Vérité in America—Studies in Uncontrolled Documentary, Udayan Gupta, 8:2, 54-55

Mander, Jerry, Four Arguments for the Elimination of Television, James Monaco, 9:2, 53-54

Mankiewicz, Frank & Joel Swerdlow, Remote Control: Television and the Manipulation of American Life, James Monaco, 9:4, 58-59

Mann, Denise, Hollywood Independents: The Postwar Talent Takeover, Larry Ceplair, 34.1, 78-79

Manso, Peter, Brando: The Biography, James Naremore, 21:1-2, 92-94

Manvell, Roger, Films and the Second World War, Andrew Horton, 9:1, 46-48

—————, New Cinema in Britain, Gary Crowdus, 3:1, 23-24

—————, New Cinema in the U.S.A., Gary Crowdus, 2:1, 27

Marchetti, Gina, Romance and the “Yellow Peril”: Race, Sex, and Discursive Strategies in Hollywood Fiction, Robert Sklar, 21:3, 58

Marcorelles, Louis, Living Cinema—New Directions in the Contemporary Cinema, Udayan Gupta, 8:2, 54-55

Marcus, Millicent Joy, After Fellini, P. Adams Sitney, 28:1, 54-57

Marcuse, Herbert, An Essay on Liberation, Elise Solomon, 2:4, 22

Margulies, Ivone, Rites of Realism: Essays on Corporeal Cinema, Leger Grindon, 30:1, 64-65

Marks, Martin Miller, Music and the Silent Film: Contexts & Case Studies 1895-1924, Royal Brown, 24:1, 92-93

Marshall, Herbert, Masters of the Soviet Cinema: Crippled Creative Biographies, Vance Kepley, Jr., 13:4, 55

Martin, Adrian, Mise en Scène and Film Style: From Classical Hollywood to New Media Art, David Greven, 40.3, 77–78

Martin, Fernando Gabriel, El ermitaño errante, Julie Jones, 37.1, 69-70

Martin, Michael T., Cinemas of the Black Diaspora: Diversity, Dependence, and Oppositionality, Cliff Thompson, 22-4, 66-67

Mascelli, Joseph V. American Cinematographer Manual, Gary Crowdus, 2:1, 27

—————, The Five Cs of Cinematography, Gary Crowdus, 1:4, 24

Massood, Paula, Black City Cinema: African American Urban Experiences in Film, Cynthia Fuchs, 29:4, 63-64

—————, Making a Promised Land: Harlem in Twentieth-Century Photography and Film, Ashley Clark, 40.3, 76

Mathews, Jack, The Battle of Brazil, Harry H. Wade, 15:3, 61

May, Lary, Screening Out the Past: The Birth of Mass Culture and the Motion Picture Industry, Robert Sklar, 11:2, 44-45

—————,The Big Tomorrow: Hollywood and the Politics of the American Way, Paul Buhle, 26:1, 66-68

Mazdon, Lucy, Encore Hollywood: Remaking French Cinema, Carl Bromley, 26:4, 86-88

Mazierska, Ewa, Jerzy Skolimowski: The Cinema of a Nonconformist, Michał Oleszczyk, 39.2, 64–66

McBride, Joseph, Searching for John Ford, Jonathan Rosenbaum, 26:4, 88-89

McCaffrey, Donald, Three Classic Silent Screen Comedies Starring Harold Lloyd, Gregg Rickman, 8:4, 48-49

McCarthy, Todd and Charles Flynn, Kings of the B’s: Working Within the Hollywood System, Timothy Bay, 7:1, 46-47

McCluskey, Audrey Thomas, The Devil You Dance With: Film Culture in the New South Africa, Lindiwe Dovey, 35.1, 80-82

McConnell, Frank, Storytelling and Mythmaking: Images from Film and Literature, Gil Muller, 10:3, 40-41

McDonald, Keiko I., Cinema East: A Critical Study of Major Japanese Films, Laura Gwinn 14:2, 52

McElhaney, Joe, Vincente Minnelli: The Art of Entertainment, Peter Tonguette, 35.1, 84-85

McGilligan, Patrick, Alfred Hitchcock: A Life in Darkness and Light, Royal S. Brown, 29:4, 62-63

————— ed., Backstory: Interviews with Screenwriters of Hollywood’s Golden Age, Larry Ceplair, 18:4, 53-55

————— ed., Backstory 2: Interviews with Screenwriters of the 1940s and 1950s, Larry Ceplair, 18:4, 53-55

—————,Cagney: The Actor as Auteur, Rob Edelman, 11:3, 42-43

—————, Clint: The Life and Legend, Robert Cashill, 28:1, 57-58 & 60

—————,Nicholas Ray: The Glorious Failure of an American Director, Thomas Doherty, 37.2, 63-64

—————, Robert Altman: Jumping Off the Cliff, Leonard Quart, 18:1, 56

McGinnis, Joe, The Selling of the President, Elise Solomon, 3:3, 21-22

McIlroy, Brian, Shooting to Kill: Filmmaking and the “Troubles” in Northern Ireland, Harvey O’Brien, 25:4, 54-57

McKnight, George, ed., Agent of Challenge and Defiance: The Films of Ken Loach, Brian Neve, 23:3, 50-51

McLean, Adrienne L., Dying Swans and Madmen: Ballet, The Body, and Narrative Cinema, Karen Backstein, 33:4, 78-80

McLoone, Martin, Irish Film: The Emergence of a Contemporary Cinema, Harvey O’Brien, 25:4, 54-57

McMahan, Alison, Alice Guy Blaché: Lost Visionary of the Cinema, Amelie Hastie, 29:1, 81-82

—————, The Films of Tim Burton: Animating Live Action in Contemporary Hollywood, Rahul Hamid, 31:4, 92-94

Meaney, Gerardine, Nora, Martin McLoone, 31:3, 75

Medavoy, Mike and Josh Young, You’re Only as Good as Your Next One, James Monaco, 27:3, 54-55

Mellen, Joan, Big Bad Wolves–Masculinity in the American Film, Phyllis Craig, 8:4, 44-46

—————,Filmguide to The Battle of Algiers, Gary Crowdus. 6:2, 511

—————, Marilyn Monroe, Dan Georgakas, 6:2, 57-58

—————,The Waves at Genji’s Door, Ruth McCormick, 8:1, 54-57

—————,Voices from the Japanese Cinema, Ruth McCormick, 8:1, 54-57

Mensh, Elaine and Harry, Behind the Scenes in Two Worlds: The German Democratic Republic and the U.S.A., Lenny Rubenstein, 10:2, 63

Mercer, John, An Introduction to Cinematography, Gary Crowdus, 2:1, 26

Merritt, Greg, Room 1219: The Life of Fatty Arbuckle, the Mysterious Death of Virginia Rappe, and the Scandal That Changed Hollywood, Michael Sandlin, 39.2, 63–64

Metz, Christian, Film Language: A Semiotics of the Cinema, Ruth McCormick, 6:4, 23-25

Meyers, Jeffrey, John Huston: Courage and Art, Patrick McGilligan, 37.1, 76-77

Michalczyk, John J., Costa–Gavras: The Political Fiction Film, Dan Georgakas, 15:1, 54

—————, The Italian Political Filmmakers, Peter Bondanella, 15:3, 52

Michelson, Annette, ed., Kino-Eye: The Writings of Dziga Vertov, Vance Kepley, Jr., 14:3, 55-57

Miller, Gabriel, The Films of Martin Ritt, Dave Wagner, 27:1, 56-57

Miller, Henry K. (Edited by), The Essential Raymond Durgnat, Max Nelson, 40.3, 72–74

Mintzer, Jordan, James Gray: Conversation with James Gray, Andrew Tracy 37.3, 63-64

Mitchell, Greg, The Campaign of the Century: Upton Sinclair’s Race for Governor of California and the Birth of Media Politics, Alan Wald, 20:1, 58-59

Mizruchi, Susan L, Brando’s Smile: His Life, Thought, and Work, Michael Sandlin, 40.1, 74–75

Moews, Daniel, Keaton—The Silent Feature Close-Up, Gregg Rickman, 8:4, 48-49

Moldea, Dan E., Dark Victory: Ronald Reagan, MCA and the Mob, Richard Porton, 16:3, 59-61

Monaco, James, American Film Now: The People, The Power, The Money, The Movies, Robert Silberman, 9:4, 55-57

Monaco, James, The New Wave, Michael Tarantino, 7:4, 49

—————, How to Read a Film: Multimedia Edition, Rahul Hamid, 27.4, 60-61

Monaco, Paul, Ribbons in Time: Movies and Society Since 1945, Sidney Gottlieb, 16:4, 60-61

Montagu, Ivor, With Eisenstein in Hollywood, Gary Crowdus, 2:4, 21

Montand, Yves with Hervé Hamon & Patrick Rotman, You See, I Haven’t Forgotten, Alan Williams, 20:2, 56

Mora, Carl J., Mexican Cinema: Reflections of a Society, 1896–1980, Dennis West, 13:2, 53

Morgan, Daniel, Late Godard and the Possibilities of Cinema, David Sterritt, 38.3, 66-67

Morris, Peter, The Film Companion, Sara McLennan, 14:2, 52-53

Moss, Robert F., The Films of Carol Reed, Antonia Lant, 16:3, 61 & 55

Moussinac, Leon, Sergei Eisenstein: An Investigation into His Films and Philosophy, Ruth McCormick, 4:1, 30-31

Mulvey, Laura, Death 24x a Second: Stillness and the Moving Image, Adrian Martin, 32:1, 75-76

Murphy, J.J., Me and You and Memento and Fargo, Brian L. Frye, 33:1, 87-88

Murray, Bruce, Film and the German Left in the Weimar Republic: From Caligari to Kuhle Wampe, Roy Grundmann, 18:2, 59-60

Musser, Charles, Before the Nickelodeon: Edwin S. Porter and the Edison Manufacturing Company, Anthony Slide, 18:4, 55-56

Musser, Charles, High-Class Moving Pictures: Lyman H. Howe and the Forgotten Era of Traveling Exhibition, 1880-1920, Anthony Slide, 18:4, 55-56

Myerson, Michael, Memories of Underdevelopment: The Revolutionary Films of Cuba, Julianne Burton, 6:2, 57

Naremore, James, More Than Night: Film Noir in its Contexts, Paul Arthur, 24:2-3, 91-92

—————,The Films of Vincente Minnelli, Jonathan Rosenbaum, 21:4, 58

—————,Sweet Smell of Success, Thomas Doherty, 36.1, 70-72

Navasky, Victor, Naming Names, Peter Biskind, 11:2, 40-42

Nayman, Adam, It Doesn’t Suck: Showgirls, Steve Erickson, 40.1, 72–74

Neale, Steve, Genre and Hollywood, J. David Slocum, 26:2, 56-57

Neve, Brian, Elia Kazan: The Cinema of an American Outsider, Dan Georgakas, 35.1, 77-78

—————, Film and Politics in America: A Social Tradition, Tony Williams, 20:2, 60

—————, Nicholas Ray: An American Journey, Tony Williams, 20:2, 59-60

Newman, Kim, Wild West Movies: How the West was Found, Won, Lost, Lied About, Filmed and Forgotten, Pat Dowell, 20:3, 65-67

Nicholson, Amy, Tom Cruise: Anatomy of an Actor, Adam Nayman, 40.2, 71–72

Nielsen, Mike & Gene Mailes, Hollywood’s Other Blacklist: Union Struggles in the Studio System, J. David Slocum, 22:3, 56-57

Niver, Kemp, In the Beginning, Robert Steele, 1:4, 23

Nochimson, Martha P., Screen Couple Chemistry: The Power of 2, Maria San Filippo, 28:4, 68-69

Nochimson, Martha, Dying to Belong: Gangster Movies in Hollywood and Hong Kong, Diane Negra, 34.1, 76-77

Norris, Margot, Ulysses, Martin McLoone, 31.3, 75

Nystrom, Derek, Hard Hats, Rednecks and Macho Men: Class in 1970s American Cinema, John Semley, 35.3, 67-68

O’Connor, John E., American History/American Television: Interpreting the Video Past, William Boddy, 13:4, 56-57

O’Pray, Michael, Derek Jarman Dreams of England, Justin Wyatt, 23:2, 52-53

O’Shaughnessay, Martin, The New Face of Political Cinema: Commitment in French Film Since 1995, Jonathan Buchsbaum, 34:2, 89-90

O'Brien, Harvey, The Real Ireland: The Evolution of Ireland in Documentary Film, Martin McLoone, 31:3, 74-77

Olivier, Laurence, On Acting, Roberta Pearson, 15:3, 54-55

Olney, Ian, Euro Horror: Classic European Horror Cinema in Contemporary American Culture, Robert Cashill, 39.1, 73–74

Olsson, Jan, Los Angeles Before Hollywood: Journalism and American Film Culture, 1905 to 1915, David Sterritt, 36.1, 72-74

Oshima, Nagisa, edited and with an introduction by Annette Michelson, Cinema, Censorship, and the State: The Writings of Nagisa Oshima: 1956-1978, Catherine Russell, 20:1, 57-58

Pack, Susan, Film Posters of the Russian Avant-Garde, Louis Menashe, 23:1, 60

Paglia, Camille, The Birds: A BFI Film Classic Book, Tony Pipolo, 24:4, 59-60

Papadimitriou, Lydia and Yannis Tzioumakis, Greek Cinema: Texts, Histories, Identities, Dan Georgakas, 37. 4, 77-78

Paquet, Andre, ed., How To Make or Not To Make a Canadian Film, Gary Crowdus, 2:3, 19

Paranaguá, Paulo Antonio, Mexican Cinema, Dennis West, 22:3, 57-58

Park, James, Learning to Dream: The New British Cinema, Leonard Quart, 14:2, 53

Parkinson, David, ed., The Graham Greene Film Reader: Reviews, Essays, Interviews & Film Stories, Charles Barr, 21:4, 55-57

Patterson, Clayton, ed., Captured: A Film/Video History of the Lower East Side, David Sterritt, 31:2, 76-77

Paul, David W., ed., Politics, Art and Commitment in the East European Cinema, Lenny Rubenstein, 13:4, 54-55

Peary, Gerald & Danny, eds., The American Animated Cartoon, Dan Georgakas, 10:4, 43

Peary, Gerald & Shatzkin, Roger, The Classic American Novel and the Movies, Gil Muller, 8:3, 57-58

Pera, Brian & Masha Tupitsyn, Life As We Show It: Writing on Film, John Semley, 35.1, 79-80

Perez, Gilberto, The Material Ghost: Films and Their Medium, James Naremore, 24:4, 56-57

Petley, Julian, Capital and Culture: German Cinema 1933-45, Lenny Rubenstein, 10:1, 63

Petri, Elio, Elio Petri: Writings on Cinema and Life, Christoph Huber, 38.4, 68-69

Petrie, Graham, History Must Answer to Man, Daniel Bickley, 10:3, 42-43

Pettit, Arthur G., Images of the Mexican American in Fiction and Film, Dennis West, 12:1, 41

Pettitt, Lance, December Bride, Martin McLoone, 31:3, 75

—————, Screening Ireland, Harvey O’Brien, 25:4, 54-57

Pevere, Geoff, Toronto on Film, Adam Nayman, 35.1, 82-83

Pfaff, Françoise, Twenty-Five Black African Filmmakers: A Critical Study, N. Frank Ukadike, 16:4, 59-60

Pfeil, Fred, White Guys: Studies in Postmodern Domination & Difference, Pat Dowell, 22:3, 49-51

Phillips, Baxter, Swastika: The Cinema of Oppression, Andrew Horton, 9:1, 46 & 48

Pipolo, Tony, Robert Bresson: A Passion for Film, Jonathan Rosenbaum, 35.3, 59-60

Pizzitola, Louis, Hearst Over Hollywood, Thomas Schatz, 27:3, 58-59

Polito, Robert, Farber on Film: The Complete Film Writings of Manny Farber, Andrew Tracy, 35.2, 76-78

Pomerance, Murray, Michelangelo Red Antonioni Blue: Eight Reflections on Cinema, Tony Pipolo, 37.4, 72-74

—————,The Horse Who Drank the Sky: Film Experience Beyond Narrative Theory, Bill Krohn, 33:4, 70-72

Porton, Richard, Dekalog 3: On Film Festivals, Adam Nayman, 35.3, 62-63

—————, Film and the Anarchist Imagination, Howard Besser, 25:3, 60-61

Portuges, Catherine, Screen Memories: The Hungarian Cinema of Marta Meszaros, Andrew Horton, 20:2, 60

Pratt, Ray, Projecting Paranoia, Maria San Filippo, 27:2, 51-52

Price, Jonathan, The Best Thing on TV: Commercials, James Monaco, 9:2, 53-54

Price, Monroe and John Wicklein, Cable Television—A Guide for Citizen Action, Tom Brom, 5:3, 63

Prime, Rebecca, Hollywood Exiles in Europe: The Blacklist and Cold War Film Culture, Patrick McGilligan, 40.1, 69–70

Prince, Stephen, Firestorm: American Film in the Age of Terrorism, Corey K. Creekmur, 35.4, 67-69

Puttnam, David, with Neil Watson, Movies and Money, Carl Bromley, 25:1, 57-59

Pye, Michael and Lynda Myles, The Movie Brats: How the Film Generation Took Over Hollywood, William Hagen, 11:4, 54-55

Quart, Barbara Koenig, ed., Women Directors: The Emergence of a New Cinema, Karen Jaehne, 17:4, 42-44

Quart, Leonard and Al Auster, American Film and Society since 1945, Elayne Rapping, 14:2, 48-49

Quart, Leonard and Albert Auster, American Film and Society Since 1945, Andrew Schenker, 37.2, 69-70

Rabinowitz, Paula, Black & White & Noir, 28:2, 60-61

Radosh, Ronald and Allis Radosh, Red Star Over Hollywood: The Film Colony’s Long Romance with the Left, Dan Georgakas, 30:4, 70-71

Rainer, Yvonne, The Films of Yvonne Rainer, Lynne Jackson, 17:4, 52

Rajadhyaksha, Ashish and Paul Willemen, Encyclopedia of Indian Cinema, Vijay S. Jodha, 21:4, 59

Ranciere, Jacques, Film Fables, Emilie Bickerton, 32:3, 95-96

Rapf, Joanna E., ed., On the Waterfront, Tom Zaniello, 29:3, 59-60

Rapping, Elayne, The Looking Glass World of Nonfiction TV, Lynne Jackson, 15:4, 56

Raubicheck, Walter and Walter Srebnick, Scripting Hitchcock: Psycho, The Birds, and Marnie, Christopher Bray, 37.2, 66-67

Ray, Robert B., The ABCs of Classic Hollywood, Adrian Martin, 35.2, 80-81

—————, How a Film Theory Got Lost, John Belton, 27:1, 57

Raymond, Emilie, From My Cold, Dead Hands: Charlton Heston and American Politics, Andrew Tracy, 32:3, 89-90.

Reichert, Julia, Doing It Yourself: A Handbook on Independent Film Distribution, Ray Fischer, 9:1, 50-52

Reid, Mark A., Redefining Black Film, James A. Miller, 20:4, 57-58

Reisz, Karel and Gavin Millar, The Technique of Film Editing, 2:1, 26

Rentschler, Eric, The Ministry of Illusion: Nazi Cinema and Its Afterlife, Robert Sklar, 23:3, 47

Restivo, Angelo, The Cinema of Economic Miracles, P. Adams Sitney, 28:1, 54-57

Rhines, Jesse Algeron, Black Film/White Money, Cliff Thompson, 22:2, 60-61

Rhodes, Anthony, Propaganda. The Art of Persuasion: World War II, Andrew Horton, 9:1, 46 & 48

Rhodes, Gary D., Edgar G. Ulmer: Detour on Poverty Row, Bill Krohn, 34:3, 64-66

Rich, B. Ruby, Chick Flicks: Theories and Memories of the Feminist Film Movement, Annalee Newitz, 24:4, 60-61

—————, New Queer Cinema: The Director’s Cut, Michael Bronski, 38.4, 70-72

Richards, Jeffrey, ed.,The Unknown 1930s: An Alternative History of the British Cinema, 1929-1939, John Cunningham, 24:4, 54-55

Richardson, Michael, Surrealism and Cinema, David Archibald, 33:3, 76-77

Richardson, Robert, Literature and Film, Noë Goldwasser, 3:3, 2

Riley, John: Dmitri Shostakovich: A Life in Film, Royal S. Brown, 30:4, 74

Robé, Chris, Left of Hollywood: Cinema, Modernism andthe Emergence of U.S. Radical Film Culture, Andrew Schenker, 36.3, 63-65

Roberts, Jerry, The Complete History of American Film Criticism, David Sterritt, 36.1, 72-74

Robinson, David, Chaplin: His Life, and Art, Paul Elitzik, 14:4, 54-55

—————, The Great Funnies: A History of Film Comedy, Gary Crowdus, 3:1, 23-24

Robinson, Harlow, Russians in Hollywood, Hollywood's Russians: Biography of an Image, Louis Menashe, 33:4, 74-76

Robinson, W.R., Man and the Movies, Gary Crowdus, 2:4, 22-23

Rockett, Emer and Kevin Rockett, Neil Jordan: Exploring Boundaries, Martin McLoone, 31.3, 74-77

Rockett, Kevin and John Hill, National Cinema and Beyond, Martin McLoone, 31.3, 74-77

Rockett, Kevin, Irish Film Censorship, Martin McLoone, 31.3, 74-77

—————, Ten Years After: The Irish Film Board 1993-2003, Martin McLoone, 31:3, 74-77

Roddick, Nick, A New Deal in Entertainment: Warner Brothers in the 1930s, Robert Sklar, 13:2, 52-53

Roffman, Peter & Jim Purdy, The Hollywood Social Problem Film: Madness, Despair, and Politics from the Depression to the Fifties, Robert Sklar, 12:2, 52-53

Rogin, Michael Paul, Ronald Reagan, The Movie, Richard Porton, 16:3, 59-61

Rohdie, Sam, The Passion of Pier Paolo Pasolini, Maurizio Viano, 22:4, 65-66

Rohmer, Eric & Claude Chabrol, Hitchcock: The First Forty-Four Films, Lenny Rubenstein, 9:4, 57

Rosen, David with Peter Hamilton, Off Hollyood: The Making and Marketing of American Specialty Films, Susan Ryan, 16:4, 59

Rosenbaum, Jonathan, Discovering Orson Welles, Sidney Gottlieb, 33:2, 72-75

—————, Greed, Richard Koszarski, 20:3, 68-69

—————, Movie Wars: How Hollywood and the Media Conspire to Limit What Films We Can See, James Monaco, 26:4, 90-91

—————, Movies as Politics, Leonard Quart, 23:3, 53

—————, Moving Places: A Life at the Movies, Kent Jones, 22:1, 58-59

—————, Placing Movies: The Practice of Film Criticism, Kent Jones, 22:1, 58-59

Rosenbaum, Jonathan, Goodbye Cinema, Hello Cinephilia: Film Culture in Transition, A.S. Hamrah, 36.2, 72-73

Rosenbaum, Jonathan and Adrian Martin, Movie Mutations: The Changing Face of World Cinephilia, Jared Rapfogel, 30:1, 61-62

Rosenfelt, Deborah, Salt of the Earth: Screenplay by Michael Wilson, Peter Gessner, 9:1, 48-49

Rosenstone, Robert A., Visions of the Past: The Challenge of Film to Our Idea of History, Robert Sklar, 22:1, 57-58

—————, History on Film/Film on History, Louis Menashe, 32:2, 82-84

Rosenstone, Robert A. and Constantin Parvulescu, A Companion to the Historical Film, Louise Spence, 38.4, 76-77

Rosenthal, Alan, The New Documentary in Action—A Casebook in Film Making, Bob Summers, 5:2, 39-40

Rosi, Francesco, and Giuseppe Tornatore, lo lo chiamo cinematografo: Francesco Rosi in Conversation with Giuseppe Tornatore, Deborah Young, 38.2, 78

Rosow, Eugene, Born to Lose: The Gangster Film in America, Colin McArthur, 9:3, 60-61

Ross, Steven J., Hollywood Left and Right: How Movie Stars Shaped American Politics, Charles Maland, 38.1, 73-74       

Rosten, Norman, Marilyn: An Untold Story, Dan Georgakas, 6:2, 57-58

Rothman, William, Documentary Film Classics, Gilberto Perez, 23:3, 49-50

Rothwell, Kenneth S., A History of Shakespeare on Screen: A Century of Film and Television, Courtney Lehmann, 26:1, 62-66

Roud, Richard, A Passion for Films: Henri Langlois and the Cinématheque Française, Robert Sklar, 14:2, 52

—————, Godard, Calvin Green, 4:1, 29-30

Roy, Rajendra and Anke Leweke (Edited by), The Berlin School: Films of the Berliner Schule, Christina Gerhardt, 39.2, 66–68

Rubenstein, Lenny, The Great Spy Films, Dan Georgakas, 10:2, 48-49

Rumble, Patrick, Allegories of Contamination: Pier Paolo Pasolini’s Trilogy of Life, Maurizo Viano, 22:4, 65-66

Ruoff, Jeffrey, An American Family: A Televised Life, Susan Ryan, 29:4, 66-67

————— (Edited by), Coming Soon to a Festival Near You: Programming Film Festivals, Robert Koehler, 39.1, 71–73

Russell, Catherine, The Cinema of Naruse Mikio: Women and Japanese Modernity, Chris Fujiwara, 34:3, 66-67

Russo, Vito, The Celluloid Closet: Homosexuality in the Movies, Edward Guthmann, 12:2, 50-52

Ryan, Michael and Douglas Kellner, Camera Politica, The Politics and Ideology of Contemporary Hollywood Film, Peter Steven, 17:2, 60

Sadler, Darlene, Nelson Pereira dos Santos, Dennis West, 31:1, 77-79

Salachas, Gilbert, Federico Fellini, Gary Crowdus, 2:4, 22

Salti, Rasha: Insights Into Syrian Cinema: Essays and Conversations with Contemporary Filmmakers, Viola Shafik, 32:3, 94-95

Samuels, Stuart, Midnight Movies, Robert Edelman, 13:2, 53-54

Sanders, James, Celluloid Skyline, Leonard Quart, 27:2, 56-57

Sarris, Andrew, Politics and Cinema, Robert Silberman, 9:3, 58

Sato, Tadao, Currents in Japanese Cinema, Jay Leyda, 13:4, 55-56

Sayre, Nora, Running Time: Films of the Cold War, Larry Ceplair, 12:3, 48-49

Schiavi, Michael, Celluloid Activist: The Life and Times of Vito Russo, Michael Bronski, 36.4, 73-75

Schickel, Richard, Conversations with Scorsese, Christopher Bray, 37.4, 74-76

—————, Elia Kazan: A Biography, Dan Georgakas, 31:2, 73-74

—————,His Picture in the Papers: A Speculation on Celebrity in America Based on the Life of Douglas Fairbanks, Sr., Cal Green, 6:3

Schiller, Herbert I., Mass Communications and American Empire, Ruth McCormick, 3:3, 22-24

Schnitman, Jorge A., Film Industries in Latin America: Dependency and Development, Dennis West, 14:4, 55

Schönherr, Johannes, North Korean Cinema: A History, Christoph Huber, 38.2, 70-72

Schulte-Sasse, Linda, Entertaining the Third Reich: Illusions of Wholeness in Nazi Cinema, Robert Sklar, 23:3, 47

Schuster, Mel, The Contemporary Greek Cinema, Peter Pappas, 10:1, 60-61

Schwartz, Nancy Lynn, The Hollywood Writers’ Wars, Larry Ceplair, 12:3, 54-56

Schwartz, Ronald, Spanish Film Directors (1950–1985), Annette Insdorf, 15:1, 51-52

Sconce, Jeffrey, Sleaze Artists: Cinema at the Margins of Taste, Style and Politics, Adam Nayman, 33:3, 77-78

Segaloff, Nat, Arthur Penn, American Director, Thomas Doherty, 36.4, 69-70

Seitz, Matt Zoller, The Wes Anderson Collection, Michael Sicinski, 39.2, 61–62

Selavy, Virginie, The End: An Electric Sheep Anthology, Mikita Brottman, 37.1, 77-78

Seligman, Craig, Sontag & Kael: Opposites Attract Me, Scott Foundas, 30.1, 60-61

Sellier, Geneviéve, Masculine Singular: French New Wave Cinema, Sandy Flitterman-Lewis, 35.2, 81-82

Sesonske, Alexander, Jean Renoir: The French Films, 1924–1939, Rob Edelman, 13:1, 49

Shadoian, Jack, Dreams and Dead Ends: The American Gangster/Crime Film, Colin McArthur, 9:3, 60-61

Shaheen, Jack G., ed., Nuclear War Films, Fred Kaplan, 9:3, 60

Shamberg, Michael, Guerrilla Television, Tom Brom, 5:2, 33-34

Shandler, Jeffrey and Hoberman, J., Entertaining America: Jews, Movies and Broadcasting, Art Simon, 28:4, 66-67

Sharp, Jasper, Behind the Pink Curtain: The Complete History of Japanese Sex Cinema, Virginie Sélavy, 34:3, 67-68

Sharrett, Christopher, ed., Mythologies of Violence in Postmodern Media, Kevin Mattson, 26:1, 69

Shary, Timothy: Generation Multiplex: The Image of Youth in Contemporary American Cinema, Timothy Doherty, 28:2, 56-57

Shaughnessy, Robert, ed., Shakespeare on Film, Courtney Lehmann, 26:1, 62-66

Shaw, Tony & Denise J. Youngblood, Cinematic Cold War: The American and Soviet Struggle for Hearts and Minds, Louis Menashe, 36.4, 72-73

Sheeran, Patrick F., The Informer, Martin McLoone, 31:3, 75

Shindler, Colin, Hollywood Goes to War: Films and American Society 1939-1952, Lenny Rubenstein. 10:2, 49-50

Shohat, Ella, Israeli Cinema, East/West and the Politics of Representation, Dan Muggia, 18:1, 54-55

—————, Israeli Cinema: East/West and the Politics of Representation, Nana Asfour, 37.1, 70-72

Shohat, Ella and Robert Stam, Unthinking Eurocentricism: Multiculturalism and the Media, Ed Guerrero, 21:3, 60-61

Siegel, Joshua & Marie Christine de Navacelle, Frederick Wiseman, John Semley, 36.3, 68-70

Siegel, Paul N., ed., Leon Trotsky on Literature and Art, Lenny Rubenstein, 4:3, 45-46

Sieving, Christopher, Soul Searching: Black-Themed Cinema from the March on Washington to the Rise of Blaxploitation, Steve Ryfle, 36.3, 66-68

Sikov, Ed, On Sunset Boulevard: The Life and Times of Billy Wilder, John Belton, 24:4, 57-58

Silber, Irwin, ed., The Cultural Revolution: A Marxist Analysis, Bill Nichols, 4:4, 31-32

Silber, Irwin, ed., Voices of National Liberation, Jose Perea, 4:3, 45

Silverman, Kaja and Harun Farocki, Speaking about Godard, Jonathan Rosenbaum, 23:4, 58-59

Silverman, Stephen, David Lean, Gary Crowdus, 18:1, 55-56

Simmon, Scott, The Invention of the Western: A Cultural History of the Genre’s First Half-Century, Stanley Corkin, 29:2, 89-90

Simon, Art, Dangerous Knowledge: The JFK Assassination in Art and Film, Christopher Sharrett, 22:2, 59-60

Sinclair, Andrew, John Ford, R. A. Higgins, 9:4, 55

Sinclair, Upton, Upton Sinclair Presents William Fox, Bob Summers, 5:1, 27-28

Sinker, Mark, If…, Richard Armstrong, 30:3, 83-84

Sitney, P. Adam, ed., Film Culture Reader, Marco Pinares, 4:3, 47-48

Sitney, P. Adam, Vital Crises in Italian Cinema: Iconography, Stylistics, Politics, Gilberto Perez, 21:4, 54-55

Sjöman, Vilgot, I Am Curious (Yellow), Gary Crowdus, 2:2, 18

Sjöman, Vilgot, I Was Curious: The Diary of the Making of a Film, Gary Crowdus, 2:3, 18

Sklar, Robert, Movie–Made America: How The Movies Changed American Life, Fred Kaplan, 7:2, 45-46

—————, Prime–Time America: Life on and Behind the Television Screen, James Monaco, 11:2, 45

Slide, Anthony, ed., Filmfront, Robert Sklar, 16:1-2, 83-84

—————, American Racist: The Life and Films of Thomas Dixon, Patrick McGilligan, 30:2, 71-72

Sloan, Kay, The Loud Silents: Origins of the Social Problem Film, Ben Singer, 17:2, 60-61

Slocum, J. David, “Bold! Daring! Shocking! True!”: A History of Exploitation Films1919-1959, 25:2, 66

Slotkin, Richard, Gunfighter Nation: The Myth of the Frontier in Twentieth-Century America, Pat Dowell, 20:3, 65-67

Small, William, To Kill a Messenger: Television News and the Real World, Tom Brom, 4:3, 42-43

Smith, Jeff, Film Criticism, the Cold War, and the Blacklist: Reading the Hollywood Reds, Larry Ceplair, 40.4, 75–77

Smith, Mona Z., Becoming Something: The Story of Canada Lee, Patrick McGilligan, 30:4, 73-74

Smyth, J. E., Fred Zinnemann and the Cinema of Resistance, Brian Neve, 40.1, 75–76

Snelson, Tim, Phantom Ladies: Hollywood Horror and the Home Front, Joan M. West, 40.4, 74–75

Snyder, Stephen, Paolo Pasolini, Raymond Durgnat, 11:2, 42-43

Solinas, Piernico, ed., Gillo Pontecorvo’s The Battle of Algiers, Gary Crowdus, 6:2 58

Solomon, Maynard, Marxism and Art—Essays Classic and Contemporary, Gary Crowdus, 6:4 48-49

Sontag, Susan, Styles of Radical Will, Gary Crowdus, 3:1, 22-23

Sorlin, Pierre, The Film in History, Larry Ceplair, 13:1, 50

Souto, H. Mario Raimondo, The Technique of the Motion Picture Camera, Gary Crowdus, 2:2, 19

Sperb, Jason, Blossoms & Blood: Postmodern Media Culture and the Films of Paul Thomas Anderson, Adam Nayman, 39.4, 75–76

Stack, Oswald, Pasolini on Pasolini, Calvin Green, 4:3, 43-44

Stam, Robert, Literature through Film: Realism and the Art of Adaptation, James Naremore, 31.1, 75-76

—————, Reflexivity in Film and Literature: From Don Quixote to Jean-Luc Godard, John Belton, 15:3, 53

Stam, Robert and Alessandra Raengo, eds. Literature and Film: A Guide to Theory and Practice of Film Adaptation, James Naremore, 31:1, 75-76

Stam, Robert, and Ragaeno, Alessandra, eds., A Companion to Literature and Film, James Naremore, 31.1, 75-76

Stanfield, Peter, Body and Soul: Jazz and Blues in American Film 1927-1963, David Segal, 31:3, 79-81

Stead, Peter, Film and the Working Class: The Feature Film in British and American Society, Leonard Quart, 20:2, 58

Stein, Ben, The View from Sunset Boulevard: America as Brought to You by the People Who Make Television, James Monaco, 9:4, 58-59

Stempel, Tom, American Audiences on Movies and Moviegoing, Marco Calavita, 27:3, 56-57

Stempel, Tom, Framework: A History of Screenwriting in the American Film, Andrew Horton, 17:2, 59-60

Sterritt, David, Guiltless Pleasures: A David Sterritt Film Reader, James Monaco, 31:3, 78-79.

—————, The Films of Jean–Luc Godard: Seeing the Invisible, Adrian Martin, 25:4, 58-59

—————, Spike Lee’s America, Adam Nayman, 39.1, 69–70

—————, The Cinema of Clint Eastwood: Chronicles of America, Michał Oleszczyk, 40.2, 73–74

Steven, Peter, ed., Jump Cut: Hollywood, Politics, and Counter Cinema, Colin McArthur, 15:2, 55

Stevenson, Jack, Scandinavian Blue: The Erotic Cinema of Sweden and Denmark in the 1960s and 1970s, Christoph Huber, 36.3, 62-63

Stone, Judy, Eye on the World: Conversations with International Filmmakers, Cleo Cacoulidis, 23:3, 52-53

Storaro, Vittorio, Bob Fisher, and Lorenzo Codelli, The Art of Cinematography, Deborah Young, 40.1, 76–77

Street, Sarah, British National Cinema, John Cunningham, 24:4, 54-55

Sturges, Sandy, ed., Preston Sturges by Preston Sturges: His Life in His Words, Andrew Horton, 18:2, 58-59

Suarez, Juan A., Bike Boys, Drag Queens, and Superstars: Avant-Garde, Mass Culture, and Gay Identities in 1960s Underground Cinema, Roy Grundmann, 22:3, 54

Suid, Lawrence H., Guts & Glory: Great American War Movies, Lenny Rubenstein, 9:2, 54-55

Sutton, Gloria, The Experience Machine: Stan VanDerBeek’s Movie-Drome and Expanded Cinema, A. S. Hamrah, 40.4, 70–71

Sutton, Paul, ed., Camera, Brian Neve, 28:1, 60-61

Swindell, Larry, Body and Soul: The Story of John Garfield, Dan Georgakas, 7:1, 43-44

Talbot, Toby, The New Yorker Theater, James Monaco, 35.3, 65-66

Talmon, Miri and Yaron Peleg, Israeli Cinema: Identities in Motion, Nana Asfour, 37.1, 70-72

Tarbox, Todd, Orson Welles and Roger Hill: A Friendship in Three Acts, Eric Kohn, 39.1, 70–71

Tate, Charles, Cable Television in the Cities, Tom Brom, 5:3, 63

Taylor, Gregg, Artists in the Audience: Cults, Camp, and American Film Criticism, David Sterritt, 25:3, 57-59

Taylor, John Russell, Hitch: The Life and Times of Alfred Hitchcock, Lenny Rubenstein, 9-4, 57

Temple, Michael and Karen Smolens (Edited by), Decades Never Start on Time: A Richard Roud Anthology, Max Nelson, 40.3, 72–74

Thomas, Nicholas, ed., International Dictionary of Films and Filmmakers, Second Edition, Gary Crowdus, 18:2, 61-53

Thompson, David & Ian Christie, eds.,Scorsese on Scorsese, Leonard Quart, 18:3, 61

Toeplitz, Jerry, Hollywood and After, Fred Kaplan, 7:1, 45

Tomaselli, Keyan, The Cinema of Apartheid: Race and Class in South African Film, Sam Hamod, 18:3, 60-61

Tompkins, Jane, West of Everything: The Inner Life of Westerns, Pat Dowell, 20:3, 65-67

Toplin, Robert Brent, Michael Moore’s Fahrenheit 9/11: How One Divided a Nation, Adam Nayman, 32:2, 85-86

Trimborn, Jürgen, Leni Riefenstahl: A Life, Barton Byg, 33:1, 81-83

Trojan, Judith & Nadine Covert, 16 mm Distribution, Ray Fischer, 9:1, 50-52

Tupitsyn, Margarita with Malevich, Kazimir and Tupitsyn, Victor: Malevich and Film, Stuart Liebman, 29:3, 60-63

Twitchell, James B., Dreadful Pleasures: An Anatomy of Modern Horror, Lenny Rubenstein, 14:4, 56

Tyree, J.M. & Ben Walters, The Big Lebowski, Robert Sklar, 36.1, 68-69

Ukadike, Nwachukwu Frank, Black African Cinema, Ed Guerrero, 22:3, 56

Valleau, Marjorie A., The Spanish Civil War in American and European Films, Larry Ceplair, 13:1, 50

Various Authors (incl. Florence Colombani, Thomas Sotinel, Jacques Mandelbaum, Aurélien Ferenczi, Jérôme Larcher, Stéphane Delorme, Bernard Benoliel, Àngel Quintana, Bill Krohn, Thierry Jousse, Clélia Cohen, Paolo Mereghetti and Noel Simsolo), Cahiers du cinéma Masters of Cinema Series, Andrew Tracy, 36.4, 70-72

Vasquez, Adolpho Sanchez, Art and Society: Essays in Marxist Aesthetics, Gary Crowdus, 6:4 48

Vasudev, Aruna & Phillipe Lenglet, Indian Cinema Superbazaar, Robert Lucky, 15:3, 55

Vaz, Mark Cotta, Living Dangerously: The Adventures of Merian C. Cooper, Thomas Dougherty, 31:1, 72-73

Verhoeff, Nanna, The West in Early Cinema: After the Beginning, Colin Fleming, 32:1, 79-80

Vieira, Mark A., Sin in Soft Focus: Pre-Code Hollywood, Thomas Schatz, 25:3, 56-57

Viertel, Peter, Dangerous Friends: At Large with Huston and Hemingway in the Fifties, Patrick McGilligan, 20:1, 59

Vitti, Antonio C., The Films of Gianni Amelio: The Search for Cinema of Social Conscience, True to His Roots, Torunn Haaland, 35.3, 66-67

Vogel, Amos, Film as a Subversive Art, Gary Crowdus, 6:4, 47-48

Walker, Alexander, Sex in the Movies, Gary Crowdus, 2:4, 23

Wallace, Michele, Black Popular Culture, James A. Miller, 20:4, 57-58

Walsh, Andrea S., Women’s Film and Female Experience, 1948-1950, Susan Ohmer, 15:1, 52-53

Walsh, Frank, Sin and Censorship: The Catholic Church and the Motion Picture Industry, Thomas Doherty, 22:3, 52-54

Warren, Charles, Beyond Document: Essays on Nonfiction Film, Paul Arthur, 22:3, 56

Waugh, Thomas, ed., “Show Us Life”: Toward a History and Aesthetics of the Committed Documentary, Lynn Jackson, 14:3, 54-55

Waugh, Thomas, Hard to Imagine: Gay Male Eroticism in Photography and Film from Their Beginnings to Stonewall, Roy Grundmann, 23:2, 56-58

—————, The Fruit Machine: Twenty Years of Writing on Queer Cinema, Melissa Anderson, 25:4, 59-60

Waugh, Thomas, Michael Brendan Baker and Ezra Winton, Challenge for Change: Activist Documentary at the National Film Board of Canada, Adam Cook, 38.3, 68-69

Weinberg, Herman G., Josef von Sternberg, Gary Crowdus, 1:4, 24

—————, Saint Cinema: Writings on Film, 1929-1970 (2nd revised Edition), Burns Raushenbush, 12:1, 39-40

—————, The Lubitsch Touch, Gary Crowdus, 2:3, 19

Weiss, Andrea, Vampires and Violets: Lesbians in Films, Michael Bronski, 21:1-2, 90-92

Welsh, David, Propaganda and the German Cinema 1933-1945, Lenny Rubenstein, 14:2, 50

West, Dennis, South America Cinema: A Critical Filmography, 1915-1994, 25:1, 61

White, Jerry, Two Bicycles: The Work of Jean-Luc Godard and Anne-Marie Miéville, Adam Cook, 39.1, 75–76

White, Patricia, Uninvited: Classical Hollywood Cinema and Lesbian Representability, Melissa Anderson, 25:4, 59-60

Williams, Linda, Hard Core: Power, Pleasure, and the “Frenzy of the Visible,” Manohla Dargis, 18:1, 53-54

—————, Playing the Race Card: Melodrama of Black and White from Uncle Tom to O.J. Simpson, Thomas Cripps, 27:4, 56-57

—————, Porn Studies, Annalee Newitz, 30:3, 78-79

—————, Screening Sex, Michael Bronski, 34:3, 70-71

Wills, Garry, Reagan’s America: Innocents at Home, Richard Porton, 16:3, 59-61

Wilson, Michael Henry, Scorsese on Scorsese, Christopher Bray, 37.4, 74-76

Wilson, Victoria, A Life of Barbara Stanwyck: Steel-True 1907­–1940, Catherine Russell, 39.4, 71–73

Willson, Robert F., Shakespeare in Hollywood, 1929-1956, Courtney Lehmann, 26:1, 62-66

Winn, Marie, The Plug-In Drug, James Monaco, 9:2, 53-54

Wollen, Peter, Paris Hollywood: Writings on Film, Jonathan Rosenbaum, 28:4, 63-64

—————, Signs and Meaning in the Cinema, A.D. Malmfelt, 3:2, 27-29

Wollen, Roger, Derek Jarman: A Portrait, Justin Wyatt, 23:2, 52-53

Wood, Michael, America in the Movies, Fred Kaplan, 7:2, 45-46

Wood, Robin, Hitchcock’s Films, Lenny Rubenstein, 9:4, 57

—————, Ingmar Bergman (New Edition), Christopher Bray, 38.2, 74-75

—————, Personal Views: Explorations in Film, Leonard Quart, 10:4, 42-43

Woroszylskl, Wiktor, The Life of Mayakovsky, Dan Georgakas, 5:1, 25-26

Yacowar, Maurice, Hitchcock’s British Films, Lenny Rubenstein, 9:4, 57

—————, Tennessee Williams and Film, Gil Muller, 8:3, 57-58

Yoshimoto, Mitsuhiro, Kurosawa: Film Studies and Japanese Cinema, Catherine Russell, 26:2, 53-54

Youngblood, Denise J, Russian War Films: On the Cinema Front, 1914-2005, 32:2, 82-85

Youngblood, Gene, Expanded Cinema, Noë Goldwasser, 4:2, 43-45

Youngkin, Stephen D., The Lost One: A Life of Peter Lorre, Christoph Huber, 31:3, 72-73

Zaniello, Tom, Working Stiffs, Union Maids, Reds, and Riffraff: An Organized Guide to Films About Labor, Dan Georgakas, 22:4, 67

Zhen, Ni, Memoirs from the Beijing Film AcademyThe Genesis of China’s Fifth Generation, Richard James Havis, 28:3, 57-58

Zhen, Zhang, An Amorous History of the Silver Screen: Shanghai Cinema, 1867-1937, Shelly Kraicer, 31:4, 91-92

Zheutlin, Barbara & David Talbot, Creative Differences: Profiles of Hollywood Dissidents, Robert Sklar, 9:3, 59-60

Zimmer, Christian, Cinéma et Politique, Renée Delforge, 7:3, 46

Zito, Stephen & Kenneth Turan, Sinema: American Pornographic Films and the People Who Make Them, Dan Georgakas, 6:4, 13-15

Zsuffa, Joseph, Bela Balazs: The Man and the Artist, Charles Musser, 16:4, 57-58

Zuckoff, Mitchell, Robert Altman: The Oral Biography, Leonard Quart, 35.3, 63-65