... 94 CO 43-3, 94-121 6/6/00 2:49 PM Page 95 “The Ineffaceable Curse of Cain”: Racial Marking and Embodiment in Pinky Elspeth kydd Look at my fingers, are not the nails of a bluish tinge...

... to the landscape inhabited by the youthful African-American protagonists in movies such as Boyz N the Hood and Menace II Society. Menace II Society's main characters, the teenage Caine and 0 'Dog, demonstrate many of the abilities developed by L.A's inner city youth-familiaritywith the ghetto...

.... In 1944, shortly before shooting was to begin, Jerry Wald, a pro- ducer at Warner Brothers, approached Crawford about starring in the screen adaptation of James M. Cain’s 1941 best-selling novel, Mildred Pierce.1 Wald was convinced that Crawford was bet- ter suited for the part of Mildred than...

... of a similar moment in Menace. After Caine and his friend are beaten by the police for driving a nice car in a “suspicious” area, the police encourage further abuse by dumping them in a Latino barrio. However, Caine’s voice-over tells us how they received help...

... cutting—as studios did in the 1940s when they excised Lena Horne and Hazel Scott from movies in the fear that their dignified and sensual images would offend white southerners—or through appropriation and silence, as when the film makes no mention about Clarence Cain, an African American attorney who...

... business I didn’t exactly know.”1° The fetish-those blue pajamas, that shape-makes visible a fissure between the male observer’s identity and the law he once enforced. Billy Wilder’s adaptation of Cain’s novel is notoriously...

... directions by alternating two actions: on the one hand, a dialogue between two lovers over the telephone (this hypostasis of a Godardian domestic scene, as well as some of the dialogue in the tape, is borrowed from The Postman Always Rings Twice by James M. Cain); on the other...

... only cinema” (cinema is not life), which reconciles the brother enemies, “Cain and Abel, cinema and video,” cinema always begun anew. (“I exist more as images than as a real human being, since my only life consists in making them. And when I say that cinema is more important than life...

... mirror the decadence of the white crime boss-corporate pimp, Denny, played by Michael Caine.” Dressing and undressing as Jordan’s clothes horses, black women are frequently seen in feminine, sexualized attire in his films. Simone’s flamboyant tastes in Mona Lisa are a byproduct of her trade...

... the economic and political economy of urban life during the 1970s. 9. Joy Duckett Cain, “The Soul of Whitney Houston,” Essence December 1990: 54. 10. The 1986 Grammy Awards had Whitney Houston up against Aretha Franklin for “Freeway of Love,” Chaka Kahn...

... a voluptuous film, because of the noise, because of the images, because of the colors. Sensual delight-there are a lot of people who don't know anymore what that is.' (Quotes from Chantal Akerman are excerpted from 'Le Voyage Ameri- cain de Chantal Akerman' by LouisMarcorelles, Le Monde...

...: composed, researched and arranged by Lindsay Cooper; recorded by David Vorhaus at Kaleidophon Studio. Cast: Martha Gibson, Geraldine Pilgrim, Anne McNiff, Jill Greenhalgh, Sally Cranfield, Paul Bental, Fraser Cains, Edward Clayton. 1979, B/W, 16mm. The film is in four parts and can either...

.../18, 1966, new printing 1976), Dictionnaire du cinema (Paris, Editions Universitaires, 1966) and Le Cinema ameri- cain (Paris, Flammarion, forthcoming). Among his most recent articles on the American cinema: 'Les Oiseaux: analyse d'une sequence,' Les Cabiers du cinema, no. 217...

... iconic power. With its publication here this image of Milano and Noschese reenters our historical memory—together with better-known images of Rita Ogden and Wendy Appel of the Women’s Video News Service shooting Another Look (1972) at the Republican National Convention in Miami, and Nancy Cain...

... in with all these ideas from Michael Caine's book, Acting in Film, and he wanted to do all these exercises. But I eventu- ally told him to sit on his hands. I hated his acting gestures, so I really was asking him not to act. With Caitlin, I don't think I once told her what to do. I just said, "Go...

...- tration with her psychotherapist, Dr. Robert Elliott (Michael Caine), we cut to a view of her inside an art museum, where she embarks on a rather cat-and-mouse-like flirtation with a man-a stranger-who had been sitting next to her in one of the galleries. Having lost...

... (centered in New York) to filmed entertainment (headquartered in Los Angeles). 39. Lev Manovich, Towards an Archaeology of the Computer Screen, in Cinema Futures: Cain, Abel, or Cable? The Screen Arts in the Digital Age, ed. Thomas Elsaesser and Kay Hoffman (Amsterdam: Amsterdam University Press, 1998...

... Greene. Jeff Greene is played by Jess Cain. MOB: 4 episodes; circa 1954. Marriage, The. NBC; 1954. This was the first network series to be regularly telecast in color. The comedy situations revolve around a New York lawyer and his wife, a former department store buyer who has...

.... John Ellis, “Cinema and Television: Laios and Oedipus,” in Cinema Futures: Cain, Abel or Cable? The Screen Arts in the Digital Age , ed. Thomas Elsaesser and Kay Hoffmann (Amsterdam: Amsterdam University Press, 1998), 133. 18. Philipp Dominik Keidl, “Toward a Public Media Archaeology: Museums...

... in the film. NOTES 1. Robert Francis, the male ingenue in The Caine Mutiny in 1954, died in an air crash the year later, which is why his name is unfamiliar. 2. In citing the significance of the Life article’s representation of the male star I do not mean...