...Amelia Jones Copyright © 1991 by The Johns Hopkins University Press 1991 Presumed Innocent (1990) “She Was Bad News”: Male Paranoia and the Contemporary New Woman Amelia Jones “She was bad news . . .” In Presumed Innocent (1990), this phrase seems intended to vindicate...

...Sabrina Barton Copyright © 1991 by The Johns Hopkins University Press 1991 “Crisscross”: Paranoia and Projection in Strangers on a Train Sabrina Barton Isn’t it a fascinating design? You could study it forever...

... an article in Discourse on the film Suture and its treatment of race. 06-Burns.sh 194-225=32pg 4/18/01 4:03 PM Page 194 06-Burns.sh 194-225=32pg 4/18/01 4:03 PM Page 195 Erasure: Alienation, Paranoia, and the Loss of Memory in The X-Files...

... in The Manchurian Candidate (dir. John Frankenheimer, US, 1962) Of Red Queens and Garden Clubs: The Manchurian Candidate, Cold War Paranoia, and the Historicity of the Homosexual Kevin Ohi In Schreber’s system, the two principal elements of his delusion (his transformation into a woman and his...

... camera movement. Magnification of ordinary percepts, or a general and unpleasant accenting of objects in the visual field, is a common complaint in the phenomenology of mental illness, for example, in hysteria, obsession, phobia, and paranoia. An illness removes something from its ordinary context...

... media technologies. Technophilic television programs like 24 , which create pleasure out of paranoia and dramas out of identification, employ digital special effects sequences like FRSs to demonstrate the power of both cinema and science to reveal hidden identities. These identities are often racialized...

...,” “The Truth is Out There”-trap us between what Norman Mailer, writing about Watergate twenty years ago, termed “the opposite theaters of our cynicism and paranoia,” they also ironically undermine our faith in either paranoia or cynicism as completely adequate responses to the dilemma of having...

... as a suspenseful connection to anxiety, hysteria, and paranoia—it is “funny” only in the peculiarly exces- sive investments made in it. The prologue to the film version—a printed text that crawls up the screen over a shot of switchboard operators—speaks best to how the phone slips from a signifier of comfort...

...Richard Allen Brushing Classical Hollywood Narrative Against the Grain of History Richard Allen Dana Polan, Powerand Paranoia: History, Narrative and the American Cin• ema, 1940-1950 (New York: Columbia University Press, 1986) Dana Polan's study of American cinema of the forties...

... and knowing. Drawing on Eve Kosofsky Sedgwick’s critique of paranoia in Touching Feeling, my discussion of the first site of opacity raises questions about the limits of paranoid thinking, particularly its faith in visibility and exposure, as a response to our contemporary surveillance situa- tion.7...

... in some homosocial context, like the sporting world or military combat. While the spy thriller is certainly one of many genres that exhibits Holly- wood’s homosocial bias, it is also uniquely saturated with paranoia, a condition that is intimately linked with homosexuality, that is, in fact...

... and anxieties- to estab- lish its heterosexuality and its coherence with American post-World War I1 national identity-that shape the forms and norms of fifties films. Like Cohan’s essay, Sabrina Barton’s ‘‘ ‘Criss-Cross’: Paranoia and Projection in Hitchcock’s Strangers on a Train” shows how repre...

... focusingon masochism ("A Child is Being Beaten paranoia ("A Case of Paranoia Running Counter to the Psychoanalytic Theory of the Disease and hysteria (scenarios of the disfiguredor symptomatic body)" (p.l6). While these scenarios have no place within theories of the cinematic apparatus, Doane argues...

... of the Object Glass. No. 24; pp. 65-87. Barton, Sabrina “Criss-Cross”: Paranoia and Projection in Strangers on a Train No. 25- 26; pp. 75-100. Bellour, Raymond The Film Stilled. No. 24; pp. 99-123. “The Letter Goes On . . . .” No. 24; pp. 207-215. The Power of Words...

.... Although Marco is ini- tially emasculated by becoming too disabled to maintain his role in the military (relatively speaking), his masculinity is protected inso- far as he exhibits manly symptoms such as nightmares, flashbacks, paranoia, and spontaneous fits of violence. Shaw’s symptoms...

... Repre- sentation in Weimar Germany (Princeton University Press, 1989), and of essays in Discourse, Wide Angle, Cinema Journal, and New German Critique. Dana Polan teaches English and Film at the University of Pittsburgh. He is author of Power and Paranoia: History, Narrative, and the American...

...) and Videofrom Tokyo to Fukui and Kyoto and New Video:]apan. She is currently working on contemporary Japanese art and video. Dana Polan teaches English and Film at the University of Pittsburgh. He is the author of Power and Paranoia: History, Narrative and the American Cinema, 1940-1 950 (Columbia...

... Polan is Associate Professor of English and Film at the University of Pittsburgh. He is the author of Power and Paranoia: History, Narrative, and the American Cinema, 1940-1950 and translator of Kafka by Gilles Deleuze and Felix Guattari. Andrew Ross teaches English at Princeton. He is the author...

... America. A second book called A Life in the Struggle: Ivory Perry and the Culture 22 of Opposition will be published next year. Dana Polan is Associate Professor of English and Film at the University of Pittsburgh. He is the author of Power and Paranoia: History, Narrative, and the American...

... Index to Camera Obscural16, 17, 18 (volume 6) 157 Adams, Parveen Per Os(cillation). No.17; pp. 7-29. Allen, Richard Brushing Classical Hollywood Narrative Against the Grain of History. On Dana Polan's Power and Paranoia: History, Narrative, and the American...