...Victor Fan This article studies the success of the Twilight franchise in relation to the stardom of Robert Pattinson by proposing a model of interpretation called “the poetics of addiction.” The term addiction is used in this essay not as a top-down form of dependency but as a multilateral and...

...Hunter Hargraves This article charts the emergence of a subgenre of reality television, recovery television, in which individuals with compulsive behaviors or addictions to unhealthy substances are profiled and reformed through a staged intervention. It argues that recovery television is...

... cinema, while the love-addicted hero Christian relies on the sentimental codes of Bollywood masculinity. Our task in this article is to archive these less-visible debts and to query the logic of the absent/present form that Bollywood takes in this film, appearing as style but remaining obscure as...

... addictive gameplay. As the latest installment in an award-winning franchise, BioShock Infinite entices players on reputation alone. Although the game's marketing presents it as a clichéd FPS game with a stereotypical white male hero and nonstop action, BioShock Infinite regularly interrogates its own models...

... Cynthia Chris Censoring Purity. No. 79: pp. 97 – 125 Kathleen Collins A Kitchen of One’s Own: The Paradox of Dione Lucas. No. 80: pp. 1 – 23 Chris Dumas On Film Studies and the Unconscious. No. 81: pp. 39 – 67 Victor Fan The Poetics of Addiction: Stardom, “Feminized” Spectatorship, and...

... Voices from Beyond the Grave: Virtual Tupac’s Live Performance at Coachella. No. 89: pp. 29 – 53 Johanna Gosse Pop, Collaboration, Utopia: Bruce Conner’s BREAKAWAY in 1960s Los Angeles. No. 89: pp. 1 – 27 Hunter Hargraves (TV) Junkies in Need of an Intervention: On Addictive...

... rooms, barely conscious enough to speak. We watched her crash and burn. Althea Flynt’s narrative (complete with needles, addiction, bruises, pills, and a hospital bed) mirrors Love’s own trauma and asks the star (and her fans) to remember and repeat, while giving value to the aesthetics of...

..., addiction, sexual license, and superb grooming — to name just a few of the themes discussed in this issue. Andi: Yes, what are the themes of the issue? How would you describe the issue’s goals and arguments, and what makes this issue unique? Lynne: The issue examines how the televisual project...

... characters escape this affliction). Only mulatta lesbianhransvestites fail to find eventual sobriety in recovery from love addiction to those unavailable. For these black femme fatales, sans black family, elders, children, or friends, love is the transparent dependency...

... viewers across class lines and educational backgrounds to be addicted to mainstream documentary forms. College educated viewers, the usual audience for PBS, seem to 225 be even more insistent about what is correct documentary form than other viewers of my work. I analyzed the political...

... of a drug overdose in 1923. In the kind of blurring of fiction and fact that made the application of film to life so appealing to the CCC, the film features Davenport as the wife of a famous lawyer whose addictions lead him to defend drug lords. In addition, the film concludes with a direct...

... hostile media theorists as a source of social “implosion” because it “absorbs all critical content and renders the medium impervious to critique What remains, argues Mark Crispin Miller, are TV’s addictive style and numbing habits of spectator- ship that flatten out history, purpose, and...

... (Winona Ryder) and Lisa (Angelina Jolie), flee the institution and visit her. During Not a Dirty Secret  •  161 the visit, Lisa reveals the double secret connected to Daisy — her addiction to BN and laxatives, and incest. Daisy commits suicide, Lisa returns...

... simply to brief appearances as supermarket checkout girls, prostitutes, or drug addicts. Souviens-toi de moi is exceptional in this respect because it is, to my knowledge, the only feature film directed (and released) by a beur woman, and it is also the first beur...

... couple on her cellular phone. Once she is in the thick of a storm that only the most dispassionate rationalist or extreme adrenaline addict could weather, we hear her try to maintain a trademark therapeu- tic composure while coaching a couple through the emotional tempest that threatens to split...

... does not shy away from difficult aspects of Gulpilil’s life in his community. Viewers learn that he has experienced forms of loss and exclusion within the Yolngu world as a consequence of his career as an actor. These costs include separation from his family, addiction to drugs and alcohol...

... tarnished by her mother’s sick addiction to celebrity. In Touch Weekly quotes an “insider”: “ ‘Encouraged by her mom, Kris, Kim has become a fame-­addicted, money-­hungry monster. . . . She has lost touch with reality.’ Once a fun-­loving socialite who enjoyed spending time with friends, Kim...

..., 1991), followed by the sequel, Black Cat II (dir. Shin, 1992), and then remade again by Holly- wood as Point of No Return (dir. John Badham, 1993). The original film tells the story of a young street waif, Nikita (Anne Parillaud), who runs with a gang of thuggish drug addicts and kills a police...

... relate to Faith, the “magic word” woman who determines his personal investment in the public sphere. Again, it is interesting to examine Lenny’s viewing of the newscast within a framework of habits and addiction. While Lenny’s general use of SQUID certainly could get him hooked on the technology, the...