JUMP CUT
A REVIEW OF CONTEMPORARY MEDIA

Classics from the past—
essays from earlier issues now online

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about these essays — Editors' note

Go to index for issue: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10-11, 12-13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24-25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54, 55, 56

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Jump Cut, no. 1, May-June 1974

La politique des auteurs, part 1 by John Hess
Badlands: shoot first by Michael King
Truffaut’s trifle in Day for Night by Marjorie Rosen
Hollywood blacklist, the Cold War and the way they were by Peter Biskind
Editorial: Jump Cut’s inaugural issue by the editors
Genre films and the status quo by Judith Hess
Memories of Underdevelopment by Julia Lesage
Seeing through cinema verité in Wanda and Marilyn Times Five by Chuck Kleinhans
Zardoz by Stephanie Goldberg
The Last Detail by John Hess and Judith Hess
Reed: Insurgent Mexico by Judith Hess and John Hess
The Exorcist and radical therapy by Bill VanWert


Jump Cut, no. 2, July-August 1974

Shirley Temple and the house of Rockefeller by Charles Eckert
La politique des auteurs, part 2—Truffaut’s manifesto by John Hess
Struggles with history in Lucia by Peter Biskind
Thieves Like Us: two essays
—Mississippi dreamin’ by Catherine Gibbs
—the love scene by Virginia Wright Wexman
Evel Knieval and The Last American Hero by Chuck Kleinhans
The Sugarland Express by Judith and John Hess
Filmography of blue-collar movies by Julia Lesage
Love and Anarchy by Patricia Erens
Editorial: Hollywood by the editors

Jump Cut, no. 3, September-October 1974

Chinatown by James Kavanaugh
Blazing Saddles by Daniel Golden
Parallax View by Fred Kaplan
Zardoz by Frederic Jameson
Chinatown by Murray Sperber
Phillip Marlowe films by William VanWert
Nicholas Roeg films by Chuck Kleinhans
Jean-Pierre Gorin interview by Christian Braad Thomsen
Cine Manifest self-history by Eugene Corr and Peter Gessner
Popcorn Venus reviewed by E. Ann Kaplan
Zagreb animation festival report by O.W. Riegel

Jump Cut, no. 4, November-December, 1974

Last Tango in Paris by E. Ann Kaplan
Return from Africa by Bernard Weiner
Thunderbolt and Lightfoot by Peter Biskind
The Golden Voyage of Sinbad by Nick Seldon

Bay of Pigs by John Hess
Love and Anarchy by William VanWert
King Kong by Gerald Peary
Cinema of Jean-Marie Straub by Martin Walsh
Wind from the East by Julia Lesage
Types of Audience Response by Chuck Kleinhans
Chinatown dialogue by Barbara Halpern Martineau
Love and Anarchy by San Francisco Anarchists
The Critical Index reviewed by John Hess
Brecht issue of Screen reviewed by Julia Lesage
Editorial: Film studies in United States by the Editors

Jump Cut, no. 5, January-February, 1975

Scenes from a Marriage by Teena Webb
Speaking Directly by Julia Lesage
Notes from practice by Jon Jost
Death Wish by Marty Gliserman
A Woman under the Influence by Barbara and Leonard Quart
Methadone: An American Way of Dealing by Peter Biskind
Interview with Julia Reichert and Jim Klein by Chuck Kleinhans
The Apprenticeship of Duddy Kravitz
by Daniel Golden
Woman of the Ganges by Barbara Halpern Martineau
Dialogue on Woman of the Ganges by VanWert, Hess, and Martineau

Christian Metz’ Film Language reviewed by Constance Penley
Mise-en-scene in Boudu Saved from Drowing by Richard Abel
Howard Hawks interview by Constance Penley, Saunie Salyer, and Michael Shedlin
Editorial: Jump Cut history and process

Jump Cut, no. 6, March-April, 1975

Dodes’ Ka-Den by Marty Gliserman
Earthquake. Towering Inferno by Fred Kaplan
Juggernaut by Gerald Peary
The Harder They Come by Julianne Burton
The History Book by John Hess
King Kong by David N. Rosen
Politics of the British documentary by William Guynn
Young Frankenstein by Judith Hess
A Very Curious Girl by Linda Greene
Metz’ new directions by John M. Finn
Film and the American experience by Marie-Claire Kolbenschlag
Reading and thinking about the avant-garde by Chuck Kleinhans
Women in Focus reviewed by Patricia Erens
Critical dialogue on Last Tango by Anne Marie Taylor
Editorial: Marxist film criticism

Jump Cut, no. 7, May-July 1975

The Godfather, part II by John Hess
Alice Doesn't Live Here Any More by Russell E. Davis

Alice Doesn't Live Here Any More by Teena Webb and Betsy Martens
Alice Doesn't Live Here Any More by Karyn Kay and Gerald Peary
The Middle of the World by Ying Ying Wu
Chac by Shelton H. Davis
Westworld by Gerald Mead and Sam Applebaum
Galileo by Martin Walsh
Le Gai Savoir by James Monaco
Le Gai Savoir by Ruth Perlmutter
Images of minority/foreign groups in U.S. film, part 1 by Patricia Erens
Metz and film semiotics by Sam Rohdie
Responses to The Pedestrian by Evan Pattak
Film as a Subversive Art reviewed by Chuck Kleinhans
The Wheel of Law by Ho Chi Minh
Editorial: Theory/criticism/reviewing/practice

Jump Cut, no. 8, August-September 1975

The Passenger by Marty Gliserman
The Passenger by Martin Walsh
Hearts and Minds by Saul Landau
Chris and Bernie by Chuck Kleinhans
The Four Musketeers by Russell E. Davis
Greaser’s Palace by Chuck Kleinhans
The Shape of an Era by Mike King

Disaster films by David N. Rosen
Disaster films by Ernest Larsen
Minorities in film, part 2 by Patricia Erens
Women’s film at Knokke by Verina Glaessner
Political filmmaking report by John Hess
Repression in Chile by Emergency Defense Committee
Enzensberger’s The Consciousness Industry reviewed by R. G. Davis
Editorial on Marxist film criticism

Jump Cut, no. 9, October-December 1975

Jaws by Peter Biskind
White Line Fever by Madeline Tress
The Engagement of Anna by Peter Pappas
Nashville by Michael Klein
Nashville by Steven Abrahams
Dead Pigeon on Beethoven Street by Ernest Larsen
Women’s Happytime Commune by E. Ann Kaplan
Children of Rage by Richard Wagner
Numéro Deux by Reynold Humphries
Cold War films by Lawrence L. Murray
Red Nightmare by Michael J. Jackson
Julia Reichert and Jim Klein interview by Lesage, Martineau, Kleinhans
A blaxploitation theater by Demetrius Cope
Blaxploitation’s high school audience by M. Washington, M.J. Berlowitz
Theories of Film reviewed by William Rothman
Psychoanalysis and film: an exchange
Comment by Ben Brewster, Stephen Heath, and Colin MacCabe
A ventriloquist psychoanalysis by Chuck Kleinhans
Report on (last?) Pesaro film festival by Julianne Burton
Berkeley projectionists protest lock-out by John Hess
Editorial: Out of the dark—building a community audience

Jump Cut, no. 10/11, June 1976

Swept Away by Tania Modleski
Dog Day Afternoon by Karyn Kay
Dog Day Afternoon by Eric Holm
The Travelling Players by Susan Tarr and Hans Proppe
Milestones’ Robert Kramer and John Douglas, interviewed by G. Roy Levin
Milestones by Michelle Citron, Chuck Kleinhans, and Julia Lesage
Milestones in others’ words by Bill Horrigan
Sidney Pollack on Three Days of the Condor by Patrick McGilligan
The Story of Adele H. by Michael Klein
Give ‘em Hell, Harry by Norman Markowitz
The Pied Piper by Reynold Humphries
Monte Hellman interviewed by Nicholas Pasquarillo
The Cockfighter by John Hess
Race with the Devil by Robbyn Grant and Barry K. Grant
Jaws by Dan Rubey
Rollerball by Richard Astle
Men’s Lives by Richard Freudenheim
Josh Hanig interviewed by Richard Freudenheim and John Hess
The Other Half of the Sky: A China Memoir by Susan Edwards
Human, Too Human by B. Ruby Rich
Nashville by Jane Feuer
Emile DeAntonio and the New Documentary of the 70s by Thomas Waugh
The Merchant of Four Seasons by Barbara Leaming
Films of Ken Loach and Tony Garnett by Richard Fudge
Ken Loach and Tony Garnett interviewed by Anthony Barnett, John McGrath, John Matthews, and Peter Wollen
Cinema novo: Pitfalls of cultural nationalism by Hans Proppe and Susan Tarr
Land in Anguish by Robert Stamm
One Flew over the Cuckoo’s Nest by William VanWert
Brother Can You Spare a Dime? by Judith Taylor and Frank Striker

Jump Cut, no. 12/13, Dec. 1976

Lifeguard by Ernest Larsen
How Yukong Moved the Mountains by Thomas Waugh
Woman to Woman by Linda Greene
The Principal Enemy by Victor Wallis
Mrinal Sen by Udayan Gupta
Underground by Thomas Waugh
Midway by Norman D. Markowitz
A Boy and His Dog by Joanna Russ
Salt of the Earth by Deborah Rosenfelt
Macunaíma by J. R. Molotnik

Rank and file fantasy in 40s films by George Lipsitz
Loose Ends by Eric Breitbart
Robert Kramer interviewed by Thomas Brom
La Cecilia by Reynold Humphries and Geneviève Suzzoni
Lovejoy’s Nuclear War by Teena Webb
Male companionship movies by Arthur Noletti, Jr.
New theory, new questions special section introduction by Chuck Kleinhans
Moving on from Metz by Geoffrey Nowell-Smith
S/Z and film criticism by Judith Mayne
S/Z and Rules of the Game by Julia Lesage
Feminist criticism of Claire Johnston and Pam Cook by E. Ann Kaplan
The Nightcleaners, part 1 by Claire Johnston
Moses and Aaron by Martin Walsh
Jean-Marie Straub and Daniele Huillet inteviewed by Joel Rogers
Christopher Caudwell’s aesthetics by Eileen Sypher
Movie-made America reviewed by Russell Campbell
The Movie Business and other books reviewed by Udayan Gupta
Hollywood’s Canada reviewed by Joyce Nelson
The last word: editorial on left cultural work by the Editors

Jump Cut, no. 14, March 1977

Rocky by Ira Shor
Harlan County, USA by Peter Biskind
Barbara Kopple interviewed by Chuck Kleinhans
White Line Fever by Leonard Leff
The Front by Michael Rosenthal
The Front debated by Stephen Barton, Charles Perkel, and Michael Rosenthal
Women, power, and violence: Special Section
Carrie by Sarafina Kent Bathrick
Carrie and Marathon Man by Michelle Citron
Texas Chainsaw Massacre, Jackson County Jail, and The Great Texas Dynamite Chase by Mary Mackey
October by Murray Sperber

Special Section: Radical cinema of the 30s: Film and Photo League
Introduction by Russell Campbell
Leo Seltzer interviewed by Russell Campbell
Samuel Brody interviewed by Tony Safford
•Writings of Samuel Brody: Paris hears Eisenstein (1930) and
The revolutionary film: problems of form (1934)
Bibliography by Russell Campbell
Filmography by Russell Campbell and William Alexander
Union Maids by Linda Gordon
Bad News Bears by Gerald Peary
The last word: editorial on looking back at history

Jump Cut, no. 15, July 1977

Jonah Who Will Be 25 in the Year 2000 by Robert Stam
The Marquise of O... and Effi Briest by Renny Harrigan
Jonah Who Will Be 25 in the Year 2000 by Linda Green, John Hess, and Robin Lakes
Bad News Bears by Dana Polan

The Front by Norman Markowitz
Harlan County, USA by E. Ann Kaplan
Rome, Open City and The Rise to Power of Louis XIV by Martin Walsh
Car Wash by Irwin Silber
Brecht and Pabst’s Three Penny Opera by Jan-Christopher Horak
The Enforcer by Charles D. Leayman
Seven Beauties by Richard Astle
Walter Benjamin and the Age of Mechanical Reproduction by Richard Kazis
Photography and filmmaking books reviewed by Joe Heuman
The Hollywood Professionals, book series reviewed by Bill Horrigan
Nonfiction Film Theory and Criticism reviewed by Thomas Waugh
The Rise and Fall of the British Documentary reviewed by William Guynn
Movies and Methods: An Anthology reviewed by Russell Campbell
Periodical roundup by Chuck Kleinhans
Debate on Chac by Rolando Klein and Shelton Davis
Real Dog Day hero tells his story by John Wojtowicz
Jaws as submarine movie by Robert Willson
Lesage firing protested by Chuck Kleinhans
The last word: editorial on the politics of editing, part one


Go to index for issue 1, 2, 3, 4, 5, 6, 7, 8, 9, 10-11, 12-13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24-25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54, 55, 56