...E. Kim Stone Helena Bonham Carter as Helen Schlegel in Howards End (dir. James Ivory, UK, 1992) Recovering the Lone Mother: Howards End As Aesthetic Anodyne E. Kim Stone On 12 February 1993, two ten-year-old boys lured two-year-old James Bulger out of a shopping mall...

...Sandy Flitterman-Lewis General Hospital All's Well that Doesn't End-Soap Opera and the Marriage Motif Sandy Flitterman-Lewis It is a well-known fact that the desire for narrative closure-the resolution of a fiction's complications-is the mainstay of classical...

...Stacie Colwell Copyright © 1992 by Indiana University Press 1992 The End ofthe Road: Gender, the Dissemination of Knowledge, and the American Campaign Against Venereal Disease during World War I Stacie Colwell “Two roads there are in life,” states the prologue to the 1918...

...Claudia Lo Amid the ongoing popularity of hundred-hour, epic-length stories or never-ending, procedurally generated games, where is the place for short games with defined endings? Anna Anthropy's Queers in Love at the End of the World (2013) rejects the importance of having a lengthy game and flips...

... production of film in Germany. 01-Halle iv-39=40pgs 1/25/01 1:43 PM Page iv 01-Halle iv-39=40pgs 1/25/01 1:43 PM Page 1 “Happy Ends” to Crises of Heterosexual Desire: Toward a Social Psychology of Recent German Comedies...

...Boaz Hagin The article examines the trope of the crying male in contemporary Israeli fiction films as it appears near the end of the 2004 feature film Walk on Water , written by Gal Uchovsky and directed by Eytan Fox. It suggests, employing various accounts of crying, melodrama, and performative...

... of repetitious drudgery that inevitably ends in failure. Close readings of Robertson’s engagement with diet and exercise are considered within the larger genealogy of women presenting their bodies for measurement in second-wave feminist art. This form of gendered labor is in stark contrast to the...

... treaty with the US and the crisis of a 1972 hostage incident. These early 1970s events were seen by denizens of mass media as well as intellectuals to signal the end of radical politics. However, treatments of liberation viewed through the lenses of gender, sexuality, and complicity thrived in sex films...

... classic romantic comedy Sleepless in Seattle (dir. Nora Ephron, US, 1993), this article suggests that in fact romantic comedy may itself be considered a melancholy genre. Insofar as the heterosexual coupling that typically ends romantic comedies forecloses same-sex desire, the foreclosed objects exist, in...

... the end of the analysis Blade Runner still deserves the qualifier canonical —as so many university courses presently attest—it will have less to do with the film's ability to be explained through the artifact of postmodern theory than it will with the film's serving as an index of the demise of the...

... grounded than the others, this essay demonstrates how competing readings of Vertigo end up ungrounding the very theoretical apparatuses behind them. It provides a history of the theoretical treatment of Vertigo but focuses mainly on the ongoing debates between Žižekian and Deleuzian readings of the film...

... rationalizes the sacrifice of the nonheterosexual, nonreproductive, and nonconformist to build a “better” race. The idealization of biraciality in Battlestar puts eugenic means to modern ends: the biological construction of a future wherein difference can be dealt with in reproductive rather than political...

... adoption, various vectors of familial and racial ideology meet: affirmative adoption narratives propose a family structure that does not insist on limited, and limiting, roles for women. To that end, I ask how a nonpathological depiction of adoption, in which the biological mother is not an object of scorn...

...Özgür Yaren This article explores trash erotic productions in 1970s Turkish cinema. What was popularly referred to as the “sex influx” ( seks furyası ) was the result of persistent economic and political crises and symptomatic of the ends of certain cultural and economic modes dominant in film...

... article demonstrates how the program's interest in staging the excess of racialized gender is structured through a white racial imaginary, which is contested by cast members in each season's reunion episode. The article ends with a consideration of the way in which queer of color camp affectively...

... suggests that, with the proliferation of reality shows, we now have a taste hierarchy within reality TV. The Bravo cable channel in the US—now called Bravo Media as it expands to multiple platforms—has pioneered the high-end reality series, working within two genres (whose names I borrow from the New York...

... narratives of sexual fulfillment that are taken for granted in most liberal and even in more radical queer politics. In the end, these films incisively critique definitions of romance and love by extending them beyond oversaturated normative connotations and into the less defined—potentially more public...

... third site of opacity, which examines Harvey's “Anti-Drone” wear in light of “the fog of war,” invokes Noel Sharkey and Lucy Suchman's recent call to end the production of autonomous armed machines. Throughout these three sites of opacity, Harvey's work opens up a response to surveillance that inhabits...

... Cultural Revolution (1966–76) and the socially detached and universal individualism, naturalized sexual difference, and essentialized female consciousness newly mainstreamed around the mid-1980s in China. The article argues that the dismissal of Zhang toward the end of the 1980s reveals both the...

... is basically the same, as is the lesson that attends it: attachment is always ambivalent. That is part of its satisfaction. End of story. Or, begin again. This article invokes Stanley Cavell’s classic account of the Hollywood comedy of remarriage in order to place Cholodenko’s trilogy within a wider...