JUMP CUT #26 (December, 1981)

to table of contents, issues 1-42

DRAGONSLAYER (Matthew Robbins, 1981)
Gary Weimberg

TESS (Roman Polanski, 1979)
Jane Marcus

NO MAPS ON MY TAPS (George T. Nierenberg, 1980)
Marcia Biederman

KRAMER VS KRAMER (Robert Benton, 1979)
Eileen Malloy

BLUE COLLAR
Michael Olmi

THE SHOOTIST (Don Siegel, 1976)
Steven Albert

SHAMPOO (Hal Ashby, 1975)
Chuck Kleinhans

Special Section:
Films in Struggle

Three on El Salvador: An Introduction
Michael Chanan

EL SALVADOR: REVOLUTION OR DEATH (Frank Diamand, 1980)
Peter Steven

EL SALVADOR: THE PEOPLE WILL WIN (Diego de la Texera, 1981)
Michael Chanan

EL SALVADOR: PORTRAIT OF A LIBERATED ZONE (Michael Chanan and Peter Chapell, 1981)
Margaret Henry

ATTACK ON THE AMERICAS (American Security Council, 1980)
Ruth McDonough Fitzpatrick

Selected resources on El Salvador
The Editors

UNE HISTOIRE DE FEMMES/ A WIVES' TALE (Sophie Bissonette, Martin Duckworth, and Joyce Rock, 1980)
Barbara Halpern Martineau

An Interview with the filmmakers
Peter Steven, Barbara Halpern Martineau, Chuck Kleinhans

THE PATRIOT GAME (Arthur McCaig, 1978), an interview
Angela Martin

Afterward: Truth and Distortion
Angela Martin

TERROR AND THE TIME (Victor Jara Collective, 1978)
Bert Hogenkamp

TERROR AND THE TIME
John Hess

Director, Rupert Roopnaraine Interviewed
Andaiye, Monica Jardine

Victor Jara Collective Update
Lewanne Jones

Articles

German Communist Kinokultur, Part 1
Jan-Christopher Horak

Iranian Documentary
Hamid Naficy

Women and Pornography
Julia Lesage

Fantasies and Nightmares
Valerie Minor

BROKEN BLOSSOMS (D.W. Griffith, 1919)
Julia Lesage

Readings on Women and Pornography
Gina Marchetti

Teaching

Feminist Film Teaching
Michael Citron, Ellen Seiter

In Print

To the Distant Observer by Noel Burch
Dana Polan

Screening Out the Past by Lary May
Eli Zaretsky

Reports

Bolvian Film Critic Killed
Gamucio Dagron

Measuring Audience Response
Leonard Henny

Theater Janitors On Strike
Gail Sullivan

Editorials

Part One: Fat and Sassy
The Editors

Part Two: Radical Culture Work in the Reagan Era
John Hess, Chuck Kleinhans, Julia Lesage

Photography

We can do it if we try
Kathy Sloane

Manifestación
Pedro Espinoza Cárcamo

JUMP CUT #27 (July, 1982)

to table of contents, issues 1-42

PERSONAL BEST (Robert Towne, 1982)
Linda Williams

ON GOLDEN POND (Mark Rydell, 1981)
Deborah H. Holdstein

LA CAGE AUX FOLLES (Edouard Molinaro, 1979)
Carolyn Durham

BLOW OUT (Brian De Palma, 1981)
Beth Horning

MAN OF MARBLE and MAN OF IRON (Andrzej Wajda, 1977 and 1981)
Lisa DiCaprio

BREAKER MORANT (Bruce Beresford, 1980)
Stephen Crofts

Third Word Film

Art, Culture, Politics
The Editors

For our urgent use: films on Central America
Julia Lesage

Interview with Third World Newsreel's Christine Choy
Sherry Millner

Ousmane Sembene's Films
The Editors

Politics and Style in BLACK GIRL
Marsha Landy

Female Domestic Labor in BLACK GIRL
Lieve Spass

Women in XALA
Francoise Pfaff

XALA: Cinema of Wax and Gold
Teshome Gabriel

BOTTLE BABIES (Peter Krieg, 1975)
Howard Z. Lorber, Margo Cornelius

Revolutionary Cinema in Turkey: Yilmaz Guney
Denis Giles, Haluk Sahin

Interview with Lusio Lleras: Cinema in El Salvador
John Mraz, with Eli Bartra

"FROM THE ASHES" (Poem)
James Scully

Special Section:
Film and Feminism in Germany Today

Introduction: From the Outside Moving In
Marc Silberman

The German Women's Movement and Ours
Renny Harrigan

Interview with Helga Reidemeister
Marc Silberman

On Documentary Filmmaking
Helga Reidemeister (tr. Marc Silberman)

Interview with Jutta Bruckner
Marc Silberman

Group Interview with Jutta Bruckner, Christina Perincioli, and Helga Reidemeister
Marc Silberman

Feminism and Film
Helke Sander (tr. Ramona Curry)

Why Women go to the Movies
Gertrud Koch (tr. Marc Silberman)

Articles

German Communist Kinokultur, Part 2
Jan-Christopher Horak

The Movie and Munsterberg
George Mitchell

A Good Use of TV: 6 x 2 (Anne-Marie Mieville and Jean-Luc Godard, 1976)
Jean Collet (tr. Dana Polan)

Epic Theater and Counter-Cinema's Principles
Alan Lovell

In Print

Sexual Strategems, ed. by Patricia Erens
Maureen Turim

Critical Dialogue

On 9 TO 5 and CHARLIE'S ANGELS (JC 24/25)
Ira Sohn

Reply to Sohn
Cathy Schwichtenberg

A Note on Ideology
Wesley Teka Harris

The Last Word

Censorship on Public Television
John Hess, Chuck kleinhans, Julia Lesage

JUMP CUT #28 (April, 1983)

to table of contents, issues 1-42

TOOTSIE (Shdney Pollack, 1982)
Deborah H. Holdstein

DINER (Barry Levinson, 1982)
Deborah H. Holdstein

POLTERGEIST (Steven Spielberg, 1982)
Douglas Kellner

REDS (Warren Beatty, 1981)
John Hess, Chuck Kleinhans

THE VERDICT (Sydney Lumet, 1982)
Phyllis Deutsch

VICTOR/VICTORIA (Blake Edwards, 1982)
Mark Bernstein

E.T. (Steven Spielberg, 1982)
Phyllis Deutsch

AN OFFICER AND A GENTLEMAN (Taylor Hackford, 1982)
Jon Lewis

CHARIOTS OF FIRE (Hugh Hudson, 1981)
Ed Carter

BIRGITT HAAS MUST BE KILLED (Laurent Heynemann, 1982)
Hal Peat

WHITE ZOMBIE (Victor Halperin, 1932)
Tony Williams

COAL MINER'S DAUGHTER (Michael Apted, 1980), HONEY SUCKLE ROSE (Jerry Schatzberg, 1981), and THE NIGHT THE LIGHTS WENT OUT IN GEORGIA (Ron Maxwell, 1981)
Mary Bufwack

Articles

The Mammy in Hollywood Film
Sybil DelGaudio

Saturday Afternoons
Marty Gliserman

Radical Film in Peru Today: An Interview with Pancho Adrienzen
Buzz Alexander

Film Reborn in Mozambique: An Interview with Pedro Pimente
Clyde Taylor

Liberation... In Reverse
Lary Moten

Special Section:
Alternative Cinema in the 80s

Introduction
Chuck Kleinhans

Independent Features at the Crossroads
Lynn Garafola

"We don't have films you can eat": Talking to the D. E. C. Films Collective
Margaret Cooper

WE ARE THE GUINEA PIGS (Joan Harvey, 1981)
Doug Eisenstark

THE LIFE AND TIMES OF ROSIE THE RIVETER (Connie Field, 1982)
Sue Davenport

SUSANA (Susana Blaustein, 1980)
Claudia Gorbman

The Films of Sharon Couzin
Gina Marchetti, Carol Slingo

New U.S. Black Cinema
Clyde Taylor

Theory

Epic Cinema and Counter Cinema
Alan Lovell

Godard and Gorin's left Politics, 1967-72
Julia Lesage

Counter Cinema--A Bibliography from JUMP CUT
Julia Lesage

Critical Dialogue

Sexual Politics
Cathy Schwichtenberg

Tap Dancing
John Fell

In Print

The Celluloid Closet by Vito Russo
Martha Fleming

The Hollywood Social Problem Filmby Peter Roffman and Jim Purdy
Jeremy Butler

Covering Islamby Edward Said
Michael Selig

Reports

Goverment Censors Pick Best Short
Janine Verbinski

Puerto Rico's Super 8 Festival
Maria Christina Rodrigez Rodriguez

Latinos in Public Broadcasting: The 2% Formula
Jesus Salvador Treviño

Racism, History, and Mass Media
Mark I. Pinsky

Photography

Jean Seberg and Information Control
Margia Kramer

The Last Word

Terry Santana
The Editors

JUMP CUT #29 (February, 1984)

to table of contents, issues 1-42

Music Video: Messages and Structures
Deborah H. Holdstein

FLASHDANCE (Adrian Lyne, 1983)
Kathryn Kalinak

BLADE RUNNER (Ridley Scott, 1982)
Douglas Kellner, Flo Leibowitz, Michael Ryan

TIGHTEN YOUR BELTS, BITE THE BULLET (Martin Lucus, James Gaffeney, and Jonathan Miller, 1982)
Doug Eisenstark

SOPHIE'S CHOICE (Alan Pakula, 1982)
Phyllis Deutsch

PRISONER WITHOUT A NAME, CELL WITHOUT A NUMBER (Linda Yellen, 1982)
Hal W. Peat

UNDER FIRE (Roger Spottiswoode, 1983)
Marjorie Woodford Bray

THE MEANING OF LIFE (Terry Jones, 1983)
Fred Glass

Latin American Film

Introduction
The Editors

Betamax and Super 8 in Revolutionary El Salvador: Interview with Daniel Solis
Julia Lesage

The Viewer's Dialectic, Part I
Tomás Gutierrez Alea

Havana Film Festival: Interview with Pastor Vega
Sérvulo Siqueira

Of Churros and Charros: Review of Carl J. Mora's Mexican Cinema and Beatriz Reyes Nevares' The Mexican Cinema
John Mraz

Women and Representation

Women and Representation: An Introduction
Jane Gaines

Words from our Mothers: Editorial from Women & Film, #2 (1972)
Siew-Hwa Beh, Saunie Salyer

Women's Narrative Pleasures: Review of Tania Modleski's Loving with a Vengence Jane Feuer

Guideline for Feminist Criticism: Review of Annette Kuhn's Women's Pictures
Jacqueline Levitin

Writing in the Margins: Review of E. Ann Kaplan's Women and Film
Sarah Halprin

Black Women Filmmakers
Claudia Springer

LA OPERACIÓN (Ana Maria Garcia, 1982) and an Interview with the Filmmaker
Kimberly Safford

DIVA (Jean-Jacques Beineix, 1982)
Ernece B. Kelly

PERSONAL BEST (Robert Towne, 1982)
Chris Straayer

LIANNA (John Sayles, 1983)
Lisa DiCaprio

WHAT YOU TAKE FOR GRANTED (Michelle Citron, 1983)
JoAn Elam

LIE BACK AND ENJOY IT (JoAnn Elam, 1982)
Claudia Gorbman

German Film Women

Women's Cinema in Germany
Claudia Lennsen

THE POWER OF MEN IS THE PATIENCE OF WOMEN (Christina Perincioli, 1978)
Gretchen Elsner-Sommer

Excerpts from Frauen und film
Marc Silberman, Gretchen Elsner-Sommer

Women's Movement Art: Interviews with Christina Perincioli
Marc Silberman

"One Brick in a Large house": An Interview with Erika Runge
Marc Silberman

Do Away with Taboos: An Interview with Ula Stöckel
Marc Silberman

MARIANNE AND JULIANE/ THE GERMAN SISTERS (DIE BLEIERNE SEIT, Margarethe von Trotta, 1982)
Lisa DiCaprio

Open Forms: An Interview with Helke Sander
Marc Silberman

THE ALL AROUND REDUCED PERSONALITY: REDUPERS (Helke Sander, 1977)
Lisa DiCaprio

THE ALL AROUND REDUCED PERSONALITY: REDUPERS
Uta Berg-Ganschow

SING, IRIS, SING (Monika Held and Gisela Tuchtenhagen, 1981)
Gretchen Elsner-Sommer

Critical Dialogue

THE VERDICT (Sidney Lumet, 1982)
Dave Linn

Reviewer Response
Phyllis Deutsch

BLOW OUT (Brian DePalma, 1981)
Jacquelin Bautista

Reviewer Response
Beth Horning

Reports

UCLA Gay and Lesbian Media Conference
John Ramirez, Lary Horne

Resistence Culture Grown in Chile
Paul Chin, Helene Lorenz

In Print

Hollywood's Image of the Jew, by Lester D. Friedman
Patricia Erens

The Last Word

Resist U.S. Imperialism The Editors

JUMP CUT #30 (March, 1985)

to table of contents, issues 1-42

PURPLE RAIN (Albert Magnoli, 1984)
Jon Lewis

RETURN OF THE JEDI (George Lucas, 1983)
Jon Lewis

THE YEAR OF LIVING DANGEROUSLY (Peter Weir, 1982)
Carolyn Durham

FITZCARRALDO (Werner Herzog, 1982)
Howard Davis, Dilwyn Jenkins

TERMS OF ENDEARMENT (James Brooks, 1983)
Douglas Kellener

INDIANA JONES AND THE TEMPLE OF DOOM (Steven Spielberg, 1984)
Moishe Postone, Elizabeth Traube

Mass Media

Latino Portrayals in Film and Television
Jesús Salvador Treviño

Knee Deep in the Big Muddy: Review of Todd Gitlin's Inside Prime Time
Elayne Rapping

Conflict and Contradiction in the Mass Media
Michael Selig

Sexual Representation

Introduction: Opening a Forum
Chuck Kleinhans

The politics of Sexual Representation
Chuck Kleinhans, Julia Lesage

Male Gay Porn: Coming to Terms
Richard Dyer

Men's Pornography: Gay versus Straight
Tom Waugh

Homo Video
John Greyson

NOT A LOVE STORY (Bonnie Klein, 1982)
Lisa DiCaprio

Interview with Bonnie Klein
Lisa DiCaprio

Latin American Film

Notes and Ads, By Way of Introduction
Class, Film Language, and Popular Cinema
William Alexander

The Viewer's Dialectic, Part II
Tomás Gutierrez Alea

THE OTHER FRANCISCO (Sergion Giral, 1975)
Julia Lesage

Bibliography on Latin American Cinema
Robert Scott

German Film Women

MALOU and IN THE COUNTRY OF MY PARENTS (Jeanine Meerapfel, 1980 and 1981)
Shawn S. Magee

Interview with Heidi Genée
Renart Fishetti

The Association of Women Filmmakers
Petra Haffter

Female Sensuality: Past Joys and Future Hopes
Gertrude Koch

Critical Dialogue

UNDER FIRE (Roger Spottiswoode, 1983)
Elayne Rapping

UNDER FIRE (Roger Spottiswoode, 1983)
Robert Simon

The Last Word

From Bloomington, Indiana, to Esteli, Nicaragua
The Editors

JUMP CUT #31 (March, 1986)

to table of contents, issues 1-42

THE COLOR PURPLE (Steven Spielberg, 1985)
Sarah Halprin

TWICE IN A LIFE TIME (Bud Yorkin, 1985)
Elayne Rapping

RAMBO FIRST BLOOD, PART II (George Cosmatos, 1985)
Mike Felker

THEY DON'T WEAR BLACK TIE (Leon Hirszman, 1980, Brazil)
Andy Piascik

THE NATURAL (Barry Levinson, 1984)
Rob Silberman

ERENDIRA (Ruy Guerra, 1983, France/ Mexico/ West Germany)
Thomas Kiely

SAUVE QUI PEUT LA VIE (EVERY MAN FOR HIMSELF, Jean-Luc Godard, 1980, France)

Hollywood Reconsidered

Hollywood Reconsidered: An Introduction
Deborah H. Holdstein

Hollywood Cinema (JUMP CUT Editorial, No.2)
John Hess and Chuck Kleinhans

Rethinking Authorship: Review of Theories of Authorship, ed. John Caugie
Barry Grant

Peel Away the Tinsel: A Review of The Hollywood Musical by Jane Feuer
Jeremy Butler

LADY BE GOOD (Norman Z. McLeod, 1941)
Jane Gaines

LADY BE GOOD: The Success Sequence
D. Scott Brewer and Chuck Kleinhans

LADY BE GOOD: Ideological Implication of the Success Sequence
Chuck Kleinhans

Independent Film

Distributing Independent Film
Freude Bartlett

An Interview with Freude Bartlett
John Hess and Chuck Kleinhans

KIAI! WOMEN IN SELF-DEFENSE (Lyndia Dean Pilcher, 1983)
Gina Marchetti

Reproduction Rights Organizing Films
Aimee J. Frank and Abigail Norman

THE REAL THING (Peter Schnall, 1984)
Kimberly Safford

Feminist Documentary in India: An Interview with Deepa Dhanraj
Julia Lesage

YIDL MITN FIDL ( Joseph Green, 1936)
Sarah Schulman

VOICE FROM A STEELTOWN ( Tony Buba, 1984)
John Hess

African Film

The Films of Med Hondo
Françoise Pfaff

What is Cinema to Us?
Med Hondo

An Interview with Med Hondo
Mark Reid

Research on African Film and Video
Françoise Pfaff

Film in the Peoples Republic of China

China's Film Policy Now: An Interview with Cheng Jihua and Chen Mei
Claire Aguilar and Chris Berry

ENTERING MIDDLE AGE (Wang Qimin and Sun Yu, 1983)
Mark I. Pinsky

Movies in China
Tani Barlow and Donald M. Lowe

Resources

Film and Video Resources
The Editors

Teaching

Vietnam: An Appropriate Pedogogy
William Alexander

Vietnam and the Artist: A Course Syllabus
William Alexander

Political Essays

Labor/ Solidarity: New Possibilities
John Hess

Women's Rage
Julia Lesage

Cuba Festival Report: New Latin American Cinema
Chuck Kleinhans and Julia Lesage

JUMP CUT #32 (April, 1986)

to table of contents, issues 1-42

ALIENS (James Cameron, 1986)
Jim Naureckas

PEGGY SUE GOT MARRIED (F. F. COPPOLA, 1986)
Bob Bartosch

1984 (Michael Radford, UK, 1984) and BRAZIL (Terry Gilliam, UK, 1984)
John Hutton

ENTRE NOUS (Diane Kurys, France, 1983)
Hervé Wattelier

LOVE BOAT and FANTASY ISLAND: TV Utopias
Ellen Seiter

Recent Work of Barbara Hammer
Claudia Gorbman

Hollywood Reconsidered

Introduction
Chuck Kleinhans

THE STEPFORD WIVES (Bryan Forbes, 1975)
Lilly A. Boruszkowski

Hollywood's Rosie the Riveter
Carolyn Galerstein

DARK VICTORY and THE GREAT LIE (Edmund Goulding, 1939 and 1941) and NOW VOYAGER (Irving Rapper, 1942)
Deborah H. Holdstein

IMITATION OF LIFE (John Stahl, 1934 and Douglas Sirk, 1959)
Jeremy G. Butler

THE FAR SHORE (Joyce Wieland, Canada, 1976)
Lauren Rabinovitz

THE HONEYMOON KILLERS (Leonard Kastle, 1970)
Helen DeMichiel

Sexual Representaion

Introduction
Chuck Kleinhans

"Bright Victory," A Photo Roman
Ann Pearson and Yvonne Klein

Pornography and the Doubleness of Sex for Women
Joanna Russ

Deep Inside Porn Stars: Interview with Veronica Hart, Gloria Leonard, Kelly Nichols, Candida Royalle, Annie sprinkle, and Veronica Vera
Annette Fuentes and Margaret Schrage

FIRECRACKER (Cirio Santiago, US/Philippines, 1981)
Gina Marchetti

GIVING WAY (Gaylon Emerzian, 1979)
Jake Jakaitis

THE SEDUCTION ( David Schmoeller, 1981)
Patricia Erens

Third World Media: Africa and Latin America

Introduction
Chuck Kleinhans

The Viewer's Dialectic III
Tomás Gutierrez Alea, Trans: Julia Lesage

Technological Paternalism: Subsaharan African Film Production
Manthia Diawara

Chilean Cinema: Ten Years of Exile (1973-83)
Zuzana Pick

Report from the Havana Film Festival
John Hess

JUMP CUT #33 (February, 1988)

to table of contents, issues 1-42

The race, religion, ideology of sports: HOOSIERS (David Anspaugh, 1986)
Deborah Tudor

Sex and drugs and rock & roll: MIAMI VICE
O.N.C. Wang

Power in prime time: MIAMI VICE and L.A. LAW
Kathleen Karlyn Rowe

Vietnam again: PLATOON (Oliver Stone, 1986) and FULL METAL JACKET (Stanley Kubrick, 1988)
Mike Felker

History, politics, style, and genre MATEWAN (John Sayles, 1987) and THE SICILIAN (Michael Cimino, 1987)
John Hess

Niceness isn't enought: WILDROSE (Joh Hanson, 1984)
Rob Silberman

Black women's responses: THE COLOR PURPLE (Steven Spielberg, 1985)
Jacqueline Bobo

The slavery motif in contemporary film: THE COLOR PURPLE and THE BROTHER FROM ANOTHER PLANET (John Sayles, 1984)
Ed Guerrero

Review of Re-Vision: Essays in Feminist Criticism, ed. by Mary Ann Doane, Patricia Mellencamp, and Linda Williams
Ellen Seiter

Review of New German Film: The Displaced Image, by Tim Corrgan and West German Film in the Course of Time by Eric Rentschler
Jan Mouton

Third World Film

Photographic image of underdevelopment
Edmundo Desnoes (trans. Julia Lesage)

Learning together: synthesizing economic and cultural analysis in the marxist study of third world film and video
Chuck Kleinhans and Manji Pendakur

Revolutionary film in El Salvador today: interview with "Lino S"
Devra Weber

K. A. Abbas (1914-1987)
Carol Slingo

THE MISSION (Roland Jaffe, 1986), Father Junipero Serra, and the Pope
Mark I. Pinsky

The Workers Film and Photo League

Introduction
Sara Miller

Television: the new weapon for the imperialist war
Sam Brody

Review of Cinema strikes Back by Russell Campbell, Film on the Left by William Alexander, Filmfront, ed. by Anthony Slide, and New Theatre and Film, ed. by Herbert Cline
Peter Bates

On a theory of "sources"
Sam Brody

Review of The Left Side of Paradise: The Screenwriting of John Howard Lawson by Gary Carr
Peter Bates

From The Editors

THE LAST WORD: Representing AIDS
The Editors

Safer-sex guidelines
Jan Grover

Safer-sex: suggested reading
Jan Grover

JUMP CUT #34 (March, 1989)

to table of contents, issues 1-42

The white man's mythic invincibility: DIE HARD (John McTiernan, 1988)
Maurice Yacowar

MAX HEADROOM: CCCCatching the wave
Erik MacDonald

Murphey's law, Robocop's body, and capitalism's work: ROBOCOP (Paul Verhoven, 1987)
Julie F. Codell

In the dirtritus of hi-technology: ROBOCOP
Steve Best

Ideology and immigration: EL NORTE (Gregory Nava and Anne Thomas, 1983)
Chris List

No Future in Riga or Leningrad: IS IT EASY TO BE YOUNG? (Yuris Podniek, 1986) and THE BURGLER (Valery Ogorodnikov, 1987)
Brenda Ballog

Documentary Filmmaking: The Fictions of Documentary

Introduction
Julia Lesage

Engagement and the documentary
Anne Fischel

Political and experimental: the work of Johann Van Der Keuken
Colin Chambers

I LOVE MONEY (Johann Van Der Keuken, 1986)
John Hess

Hurting Women: INSIDE WOMEN INSIDE (Cristine Choy and Cynthia Maurizio, 1978), SUZANNE, SUZANNE (Camille Billops and James Hatch, 1982), and TO LOVE, HONOR, AND OBEY (Christine Choy and Marlene Damm, 1980)
Loretta Campbell

Inventing and preserving Appalachia: Appalshop Documentaries
Jane M. Gaines

Their Holocaust upon watching ours: THE DR. JOHN HANEY SESSIONS and OPEN SECRETS (Thomas Friedmann and Owen Shapiro, 1983 & 1984)
Thomas Friedmann and Owen Shapiro

Transfictional disavowal: SPECIAL BULLETIN (Edward Zwick, NBC TV, 1983)
Tijani El-Miskin

Theories of the news
Mariko Tomita and Carl Bybee

SPECIAL SECTION
The People's Republic of China

Introdcution
Gina Marchetti

Poisonous weeds or national treasures: Chinese leftist films in the1930s
Chris Berry

The blossoming of a revolutionary aesthetic: TWO STAGE SISTERS (Xie Jin, 1964)
Gina Marchetti

An interview with Xie Jin
Da Huo'er

An interview with Teng Wenji
George Semsel

Media in China
Tani Barlow and Donald Lowe

News and Notes
The Editors

THE LAST WORD: Disharmonic Convergence
The Editors

JUMP CUT #35 (April, 1990)

to table of contents, issues 1-42

Being discovered: Female address on music television
Lisa A. Lewis

Sexual Representation

Introduction
The Editors

The body's shadow realm: On pornographic cinema
Gertrud Koch, translated by Jan-Christopher Horak

Vampires, sex and addictions: GANJA AND HESS (Bill Bunn, 1973)
Manthia Diawara and Phyllis Klotman

Style and politics in a Cuban Film: EL BRIGADISTA (Octavio Cortazar, 1977)
John Ramirez

The hypothetical lesbian heroine: VOYAGE EN DOUCE (Michele Deville, 1980), ENTRE NOUS (Diane Kurys, 1983)
Chris Straayer

Eyes on Hollywood

Pulling the plug on Lina Lamont: Women in Hollywoood Musicals
Martin Roth

The IBM Tramp
Stephen Papson

40's Hollywood: Review of Power and Paranoia by Dana Polan
Tony Williams

Labor's stake in the electronic cinema revolution
Michael Nielsen

New Cold War sequels and remakes: DOWN AND OUT IN BEVERLY HILLS (Paul Mazursky, 1985), ROCKY IV (Sylvester Stallone, 1985), ALIENS (James Cameron, 1986)
Christine Holmlund

Eyes on Europe

Diaries of politics and love: DIARY FOR MY LOVES (Marta Mészáros, 1987)
Steven Kovács

Fassbinder's use of Brechtian aesthetics: THE MARRIAGE OF MARIA BRAUN, LOLA, VERONICA VOSS (Ranier Werner Fassbinder, 1978, 1981, 1982)
H-B. Moeller

Spirit and flesh: THE LAST TEMPTATION OF CHRIST (Martin Scorsese, 1987)
Lisa DiCaprio

Independents

Subjectivity and space: the films of Patricia Gruben
Kathleen McHugh

Reflexivity and conflict: WATSONVILLE ON STRIKE (Jon Silver, 1989)
Geoffrey Dunn

From the Editors

THE LAST WORD: Arts censorship
The Editors

THE LAST WORD: World in change
The Editors

JUMP CUT #36 (May, 1991)

to table of contents, issues 1-42

Gulf war television
Ernest Larsen

Rembering or forgetting history: THE PLOUGHMAN'S LUNCH (Richard Eyre, 1983)
Tony Williams

War looking at film looking at war
Kali Kipnis

One born every minute: HOUSE OF GAMES (David Mamet, 1987)
Laura Kipnis

Scent of dominance: HEATHERS (Michael Lehman, 1988)
Nick Burns

Hollywood and low-budget alternatives
Charles Eidsvik

African and Black Diaspora Film and Video

Introduction: "and Shine filmed on"
Mark A. Reid

An Interview with Andreé Daventure
Mark A. Reid

Women in Sembene's films: EMITAI and CEDDO (Ousmane Sembene, 1971, 1976)
G. H. Kindam, M. Steele

South African film history: COME BACK AFRICA (Lionel Rosogin, 1959)
Ntongela Masilela

Hollywood's apartheid: CRY FREEDOM (Richard Attenborough, 1987), LETHAL WEAPON 2 ( Richard Donner, 1989) and A DRY WHITE SEASON (Euzhan Palcy, 1989)
Nicholas Wellington

Anglophone African media
Frank Ukadike

The U.S. black family film: TAKE A GIANT STEP (Louis Peterson, 1959) and RAISIN IN THE SUN (Daniel Petrie, 1960)
Mark A. Reid

An interview with Dr. Roland Jefferson
Elizabeth Jackson

Interview with Barbara McCullough
Elizabeth Jackson

Look back and talk back: the film of Isaac Julien
José Arroyo

Mainstreams and margins: ETHNIC NOTIONS (Marlon Riggs, 1989) and TONGUES UNITED (Marlon Riggs, 1990)
Chuck Kleinhans

Interview with Marlon Riggs
Chuck Kleinhans and Julia Lesage

The Last Word: "P.C." hysteria
The Editors

JUMP CUT #37 (July, 1992)

to table of contents, issues 1-42

After Cosby/ After the L.A. rebellion: The politicis of transnational identities after the cold war
The Editors

White racism and THE COSBY SHOW
Mike Budd and Clay Steinman

SALVADOR and Noreiga (Oliver Stone, 1936)
John Caldwell

(Mis)representing child labor: SALAAM BOMBAY! (Mira Nair, 1988)
Jyotika Virdi

Blood in the square: representations of democracy in China
Scott Nygren

U. S. movies in China
Peter Scheckner

Third world television in the United States
Blanche S. Chang

The color of paradise: COME SEE THE PARADISE (Alan Parker, 1990)
Robert Payne

Release from emotional internment:
Cassandra Van Buren

FAMILY GATHERING (Lise Yasui, Ann Tegnell, 1988), PBS and AIDS: AIDS: CHAPTER ONE (Thea Chalow, 1985)
Ron Gregg

Truth or "realness": TRUTH OR DARE (Alex Kirschnian, 1991) and PARIS IS BURNING (Jenny Livingston, 1991)
Jack Waters

NY experimental gay and lesbian film festival
Edith Becker

Lesbian viewing and perversity
Jennifer Montgomery

Super 8 films and the aesthetics of intimacy
Daryl Chin

Scouting WILD LIFE (John Goss, 1985)
Gabriel Gomez

Dorothy Arzner's trouser
Jane Gaines

Video sales and rentals: a resource guide
Tony Williams

Radical exhibition practices in the 30s
Brad Chisholm

Opera chorus singers: IN THE SHADOW OF THE STARS (Allie Light and Irving Saraf, 1991)
Sara Halprin

Mothers, madness and melodrama
Gretchen Bisplinghoff

JUMP CUT #38 (June, 1993)

to table of contents, issues 1-42

Children reading the woman in TEENAGE MUTANT NINJA TURTLES (Steve Barron, 1990)
Mashoed Bailie

Like a fish out of water: THE ABYSS (James Cameron, 1989)
Jody Lyle

Conspiracy thrillers: HIDDEN AGENDA (Ken Loach, 1990) and JFK (Oliver Stone, 1991)
Jerry White

Montage
Felicia Feaster

The "fiction" of film and "fact" of politics in DEEWAR (Yash Chopra, 1976)
Jyotika Virdi

Behind every flower a death: LOVE, WOMEN AND FLOWERS (Marta Rodríguez and Jorge Silva, 1988)
Ilene Goldman

Conversation with Marta Rodríguez
Dennis West and Joan M. West

U.S. Latino Media

El hilo latino: representation, identity and national culture
Chon A. Noriega, Guest Editor

The "other" island: Cuban cinema in exile
Ana M. López

Moving from the margin to the center: Puerto Rican cinema in New York
Lillian Jiménez

Of lonesome stars and broken hearts: Puerto Rican women's film/video making
Frances Negrón-Muntaner

The Latino Collaborative
The Latino Collaborative

Cine Acción: The Bay Area Center for Film and Video
Cine Acción

A Latino/a politics of language: BREAK OF DAWN (Isaac Artenstein, 1988)
Christine List

Nation and virgin as great performances in EL TEATRO CAMPESINO'S LA PASTORELA: A SHEPHERD'S TALE (1991)
Kathleen Newman

Despair in the barrio: AMERICAN ME (Edward James Olmos, 1992)
Carmen Huaco-Nuzum

Ya basta con la Hollywood paradigm! Strategies for Latino screenwriters
Charles Ramírez Berg

Media Salad

U.S. film periodicals
Jonh Hess and Chuck Kleinhans

Identity and politics in the 1993 Berlin Film Festival
Inez Hedges

The Last Word: Teaching the "other": being white, male and middle class
Chuck Kleinhans

The Last Word: Teaching the multicultural requirement
Julia Lesage

JUMP CUT #39 (June, 1994)

to table of contents, issues 1-42

My father is a Schindler Jew: SCHINDLER'S LIST (Steven Spielberg, 1994)
Les White

Crossed Lines: THE CRYING GAME (Neil Jordan, 1992)
Robert M. Payne

Gender, genre, and post-feminism: THE CRYING GAME (Neil Jordan, 1992)
Aspasia Kotsopoulos and Josephine Mills

Excuse me, did we see the same movie? FRIED GREEN TOMATOES (Jon Avnet, 1991)
Lu Vickers

Imitation world of vaudeville: IMITATION OF LIFE (Douglas Sirk, 1959)
Richard Henke

String of knots to orange box:
ORANGES ARE NOT THE ONLY FRUIT (Beeban Kidron, 1990)
Margaret Marshment and Julia Hallam

Rape and captivity
Elliott Gruner

Theory and practice
Chon A. Noriega, Guest Editor

A Puerto Rican reading of "America":
WEST SIDE STORY (Robert Wise amd Jerome Robbins, 1961)
Alberto Sandoval S¶nchez

Scene from the movie GIANT (George Stevens, 1956 )
Tino Villanueva

Pato Donald's gender ducking: THE THREE CABALLEROS (Norman Ferguson, 1945)
Jose Piedra

Hot and spicy: representation of Chicano/Latino men in gay pornography
Christopher Ortiz

The no-movie interview: Chicano art collective, Asco (1972-87)
Gronk and Harry Gamboa, Jr.

Past imperfecto
Harry Gamboa, Jr.

Chicano personal cinema
Willie Varela

Puerto Rican video artist: Edin Velez
Lillian JimÙnez

Pocha manifesto #1
Sandra Peúa-Sarmientov

The numbers game
Chon Noriega

MADE ON RAILS in Mexico (Gloria Tirado and John Mraz, 1987)
John Mraz

Video ethnography
Eric Margolis

THE LAST WORD

Twenty years of JUMP CUT
John Hess, Chuck Kleinhans, and Julia Lesage

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