...Kelley Conway Chantal Akerman’s films are typically characterized as minimalist and melancholy due to her signature long takes and understated performances. Yet her films also express extraordinary lyricism and euphoria, notably through song. Amid the highly patterned narratives and the exquisitely...

... to the elision of gendered labor found in Stan Brakhage’s lyrical film Star Garden (US, 1974). The article charts two types of gendered labor Robertson engages in over the course of the project. First, as a document that tracks Robertson’s weight loss, a form of labor that she presents in a register...

... However, does the fact that Keller (intentionally or not) "reworked" the principles ofBrakhage or any other' 'patriarchal" filmmaker necessarily or in itself' 'make a feminist meaning"? The film may attempt to rework or subvert Brakhage's somewhat lyrical filming strategies but the...

...Edward Baron Turk Copyright © 1991 by The Johns Hopkins University Press 1991 I Married an Angel (W. S. Van Dyke, MGM, 1942) Deriding the Voice of Jeanette MacDonald: Notes on Psychoanalysis and The American Film Musical Edward Baron Turk I...

...Diane Waldman Copyright © 1988 by The Johns Hopkins University Press 1988 Film Theory and the Gendered Spectator: The Female or the Feminist Reader? Diane Waldman Like literary theory and criticism, film theory has moved from a notion of meaning immanent in the text to a concern...

...Chris Dumas The problem of the “it was all a dream” structure is considered, particularly in reference to its appearance in the year 1953. This article compares three films featuring the dream structure — Robot Monster (dir. Phil Tucker, US), The 5000 Fingers of Dr. T (dir. Roy Rowland, US), and...

... final analysis, ahistorical.s None- theless, Rich’s lyrical evocation of lesbian relationships as the epitome of close female friendships undeniably influenced 1980s feminist lit- erary and film theory, focusing attention on female bonding and en- couraging redefinitions of both “woman’’ and...

...Dana Polan © 1984 by Camera Obscura 1984 ‘ ‘Desire Shifts the DZferance’’ : Figural Poetics and Figural Politics in the Film Theory of Marie-Claire Ropars Dana Polan Polymorphous and perverse the cinema explodes the sign in...

...Rosalind Galt This article contends that film studies has consistently denigrated “pretty” images: those that emphasize detailed composition, excess color, or decorative style. While the term deliberately invokes the triviality of “pretty pictures,” the article questions this taken-for-granted...

...Judith Mayne Copyright © 1989 by The Johns Hopkins University Press 1989 Potemkin (Sergei Eisenstein, 1925) Soviet Film Montage and the Woman Question Judith Mayne Virtually all critics of Soviet film of the 1920s would agree that the development of the cinema needs to...

... and in contemporary German and Austrian literature and film. Escape Fantasy (The Princess and the Warrior, dir. Tom Tykwer, Germany, 2000). Courtesy X-Verleih Melodrama’s Other: Entrapment and Escape in the Films of Tom Tykwer Heidi Schlipphacke The closing tableau of each of...

... together a wide range of genders and bodies on-screen, all the while showing profound love and respect for the 1970s feminist legacy. The article takes this new queer work as an invitation and a provocation to reassess Barbara Hammer's short experimental films of the 1970s and the larger cultural-feminist...

...Jodi Brooks The Kids Are All Right (US, 2010) is Lisa Cholodenko's most commercial film to date and has been the most divisive in its reception. Pitched as a film of and for the times, the film has been celebrated for its portrayal of a lesbian family unit and taken to task for its homonormativity...

...Usha Iyer Though popular Hindi cinema is frequently identified by its song-and-dance sequences, little has been written specifically about film dance. This article analyzes film dance and female stardom in Hindi films of the late 1980s and 1990s through an examination of the star text of Madhuri...

... Austria to France by Maria Theresa, Marie Antoinette’s mother, run like an epistolary leitmotif through the film, and are juxtaposed with the cynically subversive lyrics of urban pop bands and the youthful cadence of the characters’ atmospheric chatter. What interests me is Coppola’s...

...Robert A. Rushing The Italian peplum film (sometimes called the sword-and-sandals film) enjoyed a brief but intense vogue from about 1957 to 1965. Over three hundred of these films were made following the same basic model: a bodybuilding celebrity (Steve Reeves, Reg Park) was cast as a heroic...

... oneiric origin, which means that “the tendency of film language should be expressively subjective and lyrical” (173). But of course, it is not always so, and this is part of Pasolini’s lament about narrative cinema as well as his call for a cinema of poetry. The House Is Black, then, can be...

... the flow of images and the sound track unexpectedly begin to play again in reverse, rewinding Basil’s performance back to the beginning — an audiovisual demonstration of the “breakaway from the everyday” called for in the song’s lyrics. An experimental dance film created specifically for the...

... the rest of the film — and the lyrics emphasize her heroic assign- ment (“Are we crazy, deranged to stand up for some change The sequence climaxes as we see the wing of a plane lifting off into the sky. Our feminist heroine, briefed, trained, and ready, is off and bound for Turkey, where she...

...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...