...Kathleen Collins First appearing on the air in 1947, Dione Lucas was one of the earliest television cooking-show hosts. As a business owner, single mother, influential salesperson, and highly respected professional in her field (Julia Child referred to Lucas as “the mother of French cooking...

... is busy throwing her boyfriend Lucas’s belongings out of the window and does not let her in. Reconsidering, Rita walks off to the subway in order to find Paulo, who is filming at a metro construction site. When she finally finds him and shouts his name, he does not hear her because...

...Lucas Hilderbrand Camera Obscura 2008 Lucas Hilderbrand is an assistant professor of film and media studies at the University of California, Irvine. His book Inherent Vice: Bootleg Histories of Videotape and Copyright is forthcoming from Duke University Press. “More Than One Way...

... Homosexual Desire in Philippe Vallois’s Johan. No. 84: pp. 125 – 57 Lucas Hilderbrand Sex Out of Sync: Christmas on Earth’s and Couch’s Queer Sound Tracks. No. 83: pp. 45 – 75 Dijana Jelacˇa Between Mothers and Daughters: Adoption, Family, and Black Female Subjectivity...

... 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...

... as embodying a complexity ill-suited to discrete categorization. 38 ONE Adventure was produced at a time when the nucleus of gay male cinema had not yet been split into discrete constituent parts: gay film and gay pornography. As Lucas Hilderbrand has demonstrated, gay pornography constituted...

... York: Routledge, Star Wars: Episode IV — A New Hope (dir. George Lucas, US, Star Wars: Episode V — The Empire Strikes Back (dir. Irvin Kershner, US, Star Wars: Episode VI — The Return of the Jedi (dir. Richard Marquand, US, Star Wars: Episode I — The Phantom Menace...

.... As it is a postgraduate college and I didn’t have a degree, this would not be possible now. At R.C.A. I worked as a camera assistant on other student productions, and worked collectively to produce videotapes for Lucas Aerospace Shop Stewards Combine Committee. I directed and shot Taking A Part between 1977-79...

...Lucas Hilderbrand This essay draws from queer theory and sound studies in an analysis of two sexually explicit 1960s underground films that refused synchronization: Barbara Rubin's Christmas on Earth (US, 1963), which is intended to be screened with a live radio sound track, and Andy Warhol's Couch...

... and Larry Wachowski, US, 2003); Return of the Jedi (now also known as Star Wars: Episode VI, dir. Richard Marquand, US, 1983); RoboCop (dir. Paul Verhoeven, US, 1987); Star Wars (now also known as Star Wars: Episode IV — A New Hope, dir. George Lucas, US, 1977); Star Wars...

..., artistic, and scholarly attention throughout the years. Critical response to the film has varied, ranging from scathing indictments to lukewarm gratitude, with different questions and concerns arising depending on who is doing the viewing. Lucas Hilderbrand puts it soundly: “That the film has sparked...

...Lucas Hilderbrand Camera Obscura 2004 Lucas Hilderbrand is a PhD candidate in cinema studies at New York University and a programmer for MIX: The New York Lesbian and Gay Experimental Film/Video Festival. Framed in front of a staticky TV monitor, Karen’s subjectivity is influenced...

... and the Lucas/ Spielberg productions that followed were amazingly successful in capturing audience attention through high-tech special effects housed in cartoon-like stories. The appeal of this wishfulfilling narrative simplicity seemed limitless, and spilled over immediately into a lucrative series...

... places is Justin Bond, otherwise known as “Kiki” of the duo Kiki and Herb, who work somewhere at the intersection of cabaret, per- formance art, and stand-up comedy. Lucas Hilderbrand’s apprecia- tion — which is “mostly” on Kiki — uses Kiki and Herb’s Carne­gie Hall “farewell” performance...

... at the Telluride Film Festival in 1974, and by Steven Spielberg and George Lucas, mainstream directors who often pay critical homage to her work in their popular art.84 Beyond cinema, Thomas Elsaesser finds Riefenstahl's doc- umentary style to be central to television.P Nevertheless, the general perpetuation...

..., passive, and emotionless accomplice (3 – 7). In a more derogatory way, many critics liken the film to George Lucas’s American Graffiti (US, 1973) or, to a lesser extent, Peter Bogdanovich’s The Last Picture Show (US, 1971). For example, in his work on teen film, Jon Lewis couples...

... a very speci c type of aesthetic experience, one that augments and limits access to the visual in unique ways. From Sean Cubitt’s landmark study on the multiple forms and practices of video media to Lucas Hilderbrand’s more recent formulation of video as a bootleg technology, media...

... forget. When I am frus- trated with this or that institution, I invoke these people in my mind, and they kind of put it all into perspective. You have often been linked to other young feminist video makers such as Elisabeth Subrin and Kristin Lucas. How do you feel about this genera- tional...

... Sontag Mike Mills has described his 2016 film 20th Century Women (US) as “a portrait of all these women that raised me, that I love, that still confuse me, that are still like a mystery to me.” 1 His film is an account of fifteen-year-old Jamie's (Lucas Jade Zumann) coming-of-age in 1979...

.... As he writes in a lacerating review of Luca Guadagnino's Call Me by Your Name (Italy/France/US/Brazil, 2017), “Only by averting our eyes from the distinctive gay male sex act can we defend a man's freedom to perform it; in the classically abstract liberal way, all is approved of on condition...