... involvement in cinema as a global system, and into the complexity of contemporary Indigenous filmmaking in Australia as a specialist sector that operates within while remaining different from the state-funded national film industry. Therese Davis is the author of The Face on the Screen: Death...

... described as specifically “feminine” or “feminist.” For us, as well as for other women involved in different areas of cultural and theoretical work, thinking about what we mean when we assert feminine specificity continues to be a major issue involving reformulation and re-examina- tion of...

..., 69365 Lyon Cedex 2 France (10 francs) 1977. Jacqueline , Rose “Dora - Fragment of an Analysis.” m/f , 3-1 ( 1978 ). Hitchcock’s sketches for The Birds (courtesy Cahiers du Cinh) Enunciation and Sexual Difference (Part Janet Bergstrorn I. Introduction There is a great deal of...

... representation of animals, knowledge, and expertise. Angela Bassett and Ralph Fiennes in Strange Days (dir. Kathryn Bigelow, US, 1995) Can “We All” Get Along? Social Difference, the Future, and Strange Days Mark Berrettini Several of the disparate character-driven narrative threads in...

...Lea Jacobs © 1981 by Camera Obscura 1981 Now Voyager: Some Problems of Enunciation and Sexual Difference Lea Jacobs The representation of sexual difference in the Hollywood cinema has been described as a double movement in which woman functions as a term of difference that...

...Sharon Willis Copyright © 1991 by The Johns Hopkins University Press 1991 Special Effects: Sexual and Social Difference in Wild at Heart Sharon Willis A recent issue of Movieline magazine (September, 1990) carries two related articles that capitalize on David Lynch’s name...

... to decide what is specifically Ropars’s or Sorlin’s). The study thereby dis- mantles the fuities of individuality while maintaining the difference of voices. A theory of non-mastery necessitates a new, open style, and it is important to note how Ropars accompanies her meditations...

... polarized reception. The author argues that the film occupies an in-between space as a result of its movements between different genres, audiences, and agendas. Reading The Kids Are All Right in relation to Cholodenko's previous films, the author examines how it tracks, explores, and is marked by the spaces...

... from others and vice versa, and their constant association with that which is considered gross (like dirt, vomit, and feces) is habitually a sign of what emotional and economic insecurity has wrought. However, race makes a critical difference in the treatment of abjection in these two shows. While...

... repertoire of photographic works by Wendy Ewald, Susan Meiselas, and myself includes many such projects, but we put them side by side with projects in which, for example, the relationship between the different protagonists is less clear, the intentions behind the acts of photography are less favorable for...

... spaces and aesthetics for producing collective memory that differently configure spectatorial interaction and social intervention. Counterposing the hyperindustrialized military vision of the fictional reality TV show Drones with the social media–styled memory market TruNode, the film’s caricature of...

... billion images in the past four years alone. The writings of media theorist Mark Hansen offer a provocative starting point to explore how a desire for racial neutrality can lead to the unintentional repression of important forms of cultural difference. Two models of ethics, grounded in the writings of...

... ideational. Cuarón's film deploys certain cinematic strategies to represent difference: from disjunctures between sound and image and a cinematic obsession with lingering on “incidental” details that lends them allegorical significance to an extended chase sequence. The place of race and biopolitics in this...

... ideas of racial progress and recombines them with different narratives and ideologies so that audiences may receive them as new and cut off from history. By centering its finale on the survival of one genetically idealized child, Battlestar constructs a new narrative context for an old story that...

... shaped by this very difference. Further, through initiatives like the African-American Film Festival Releasing Movement, networks of filmmakers and film enthusiasts from communities historically mis- or underrepresented in film are beginning to shift the constitution of festival audiences and thereby...

..., as no other event has, that there are different bourgeoisies and different undergrounds and they can clash in many ways. Just as we still live with the heritage of May 1968 in Paris, in the experimental film world so too we still live with the aftermath of EXPRMNTL 4 in 1967 in the small town of...

... essays in the issue explore the theme “between worlds.” In particular, the theme offers a cue for authors to consider how, given the mutable cultural terrain of the twenty-first century, the work of female directors might be negotiating different, perhaps even disjunctive, worlds. In-betweenness...

... in mediating, without collapsing, significant differences between the women whose lives are at stake in these documentaries and the women who make and watch such films? The delicate balance that makes possible a transnational feminist ethics of identification in these films exists in the management...

... ensemble, Modern Family relationally racializes Asian American, Latinx, and Black recurring and side characters through performances of cultural capital. Their differences deviate from the sexual modernity represented by the program’s core white families. Despite the token representations of racial...

... lens, Leonard works from an implicitly queer and feminist perspective that puts pressure on both hegemonic modes of seeing and our ways of narrating them. Such concerns have similarly animated the work of art historian Huey Copeland, whose writing explores the ways in which forms of cultural difference...