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Volume 6, Number 3 (18)

1 September 1988

ISSN 0270-5346

EISSN 1529-1510

In this Issue

On Contemporary China
Review Essays

On Contemporary China

Chinese “Women's Cinema”: Introduction

Chris Berry

China' New “Women's Cinema”

Chris Berry

Interview with Zhang Nuanxin

Interview with Peng Xiaolian

Interview with Hu Mei

The Theater of Everyday Life: Ulrike Ottinger's China: The Arts, Everyday Life

Janet Bergstrom

Review Essays

The Woman's Film and the Female Spectator

Lea Jacobs

The Mercator of the Postmodern: Mapping the Great Divide

Anne Friedberg

Film Theory and the Gendered Spectator: The Female or the Feminist Reader?

Diane Waldman

Painting and Cinema: The Frames of Discourse

Lynne Kirby

Powers of Vision, Visions of Power

Dana Polan

The Cinema, Reader of Gilles Deleuze

Marie-Claire Ropars-Wuilleumier

Historical Critique and History as Criticism

Dudley Andrew

Brushing Classical Hollywood Narrative Against the Grain of History

Richard Allen

Film History as Discipline

Richard deCordova

Contributors

Books Received

Index to Camera Obscura/16, 17, 18 (volume 6)

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Whatever Happened to Janet Wood? Women Story Editors in 1950s Television

Sitting Closer to the Screen: Early Televisual Address, the Unsettling of the Domestic Sphere, and Close Reading Historical TV

Zhang Nuanxin and Social Commitment in 1980s Chinese Women’s Experimental Cinema

“Light Filtering through Those Shutters”: Joyless Streets, Mnemic Symbols, and the Beginnings of Feminist Film Criticism

Opening Statements: Theme Singing and Shifting Paradigms for Voicing Feminine Subjectivities as Television Music

About Camera Obscura: Feminism, Culture, and Media Studies
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