JUMP CUT
A REVIEW OF CONTEMPORARY MEDIA

Essays in anthologies

“1993: Movies and The New Economics Of Blockbusters and Indies,” American Cinema Of The 1990s: Themes And Variations, Ed. Christine Holmlund, Forthcoming.  A volume for the series, Screen Decades: American Culture/American cinema, ed. Lester D. Friedman and Murray Pomerance (Ruthgers University Press)

“Barbara Hammer: Lyrics and History,” Women’s Experimental Cinema: Critical Frameworks, Robin Blaetz, ed.  Durham, Duke University Press, forthcoming.

 “Porn and Documentary: Narrating the Alibi,” Sleaze Artists: Cinema at the margins of taste, style, and financing, ed. Jeffrey Sconce, Durham: Duke University Press, forthcoming.

“Becoming Hollywood? Hong Kong Cinema in the New Century,” Chinese Connections: Critical Perspectives on Film, Identity and Diaspora, ed. Peter X. Feng, Gina Marchetti, and Tan See-Kam.  Philadelphia: Temple University Press, forthcoming.

“The Change from Film to Video Pornography: Implications for Analysis,” Pornography: Film and Culture, Peter Lehman, ed.,  (Rutgers Depth of Field Series). New Brunswick: Rutgers University Press, 2006, 154-167.

“Virtual Child Porn: The Law and the Semiotics of the Image,” More Dirty Looks: Gender, Pornography, and Power, ed. Pamela Church Gibson, second edition, expanded (London: British Film Institute, 2004) 71-84.

With Rick Morris, “Court TV: The Evolution of a Reality Format,” Startling!  Heartbreaking!  Real! Reality TV and the Remaking of Television Culture, Laurie Ouellette and Sue Murray, eds.,  (New York: NYU Press, 2004), 157-175

“Terms of Transition: The Action Film, Postmodernism, and Issues of East-West Perspective,” Multiple Modernities: Cinemas and Popular Media in Transcultural East Asia, ed. Jenny Kwok Wah Lau.  (Philadelphia: Temple University Press, 2003), 167-178.

“Girls On The Edge Of The Reagan Era,” Sugar, Spice and Everything Nice: Contemporary Cinemas of Girlhood, ed. Frances Gateward and Murray Pomerance (Detroit: Wayne State University Press, 2002), 72-90.

“Charles Burnett,” Fifty Contemporary Directors, ed. Yvonne Tasker (London: Routledge, 2002), 65-73.

“Pamela Anderson on the Slippery Slope,” The End of Cinema As We Know It: American Film in the 1990s, ed. Jon Lewis.  NY: New York University Press, 2001) 287-299.

“Marxism and Film,” Film Studies: Critical Approaches, ed. John Hill and Pamela Church-Gibson (Oxford: Oxford University Press, 2000), 104-111.

“Independent Features: Hopes and Dreams,” New American Cinema, ed. Jon Lewis,  (Durham: Duke Univ. Press, 1998), 307-327.
 
“Marxism and Film,” The Oxford Guide to Film Studies, ed. John Hill and Pamela Church-Gibson (Oxford: Oxford University Press, 1998), 106-113.

“Class In Action,” The Hidden Foundation: Cinema and the Question of Class, ed. David James and Rick Berg, (Minneapolis: U of Minnesota Press, 1996) 240-263.

“Theodore Huff:  Historian and Filmmaker,” Lovers of Cinema: The First American Avantgarde 1919-1945, Jan-Christopher Horak, ed. (Madison: U of Wisconsin Press, 1995) 180-204.

“Realist Melodrama and the African-American Family:  Billy Woodberry’s Bless Their Little Hearts,“ Melodrama:  Stage, Picture, Screen, ed. Jacky Bratton, Jim Cook, and Christine Gledhill (London: British Film Institute,1994) 157-166.  

“Taking Out the Trash: Camp and the Politics of Irony,” The Politics and Poetics of Camp, ed. Moe Meyer (NY and London: Routledge, 1994) 182-201.

"Notes on Melodrama and the Family under Capitalism," in Marcia Landy, ed., Imitations of Life: A Reader on Film and Television Melodrama (Detroit: Wayne State U. P., 1991).  Reprint of 1979 article.

"Working-Class Film Heroes:  Junior Johnson, Evel Knievel and the Film Audience," in Peter Steven, ed., Jump Cut: Hollywood, Politics, and Counter-Cinema (Toronto:  Between the Lines Press; NY: Praeger; London, British Film Institute,1985), pp. 64-82.  Reprint of "Contemporary Working Class Film Heroes..."1974.

with Peter Steven and Sara Halprin, "Interview with the Filmmakers" (of A WIVES' TALE), in Peter Steven, ed., Jump Cut: Hollywood, Politics, and Counter-Cinema (Toronto:  Between the Lines Press; NY: Praeger; London, British Film Institute, 1985), pp. 179-189.  Reprint of 1981-82 interview.

with Tom Waugh, "Gays, Straights, Film and the Left:  A Discussion," in Peter Steven, ed., Jump Cut: Hollywood, Politics, and Counter-Cinema (Toronto:  Between the Lines Press; NY:  Praeger; London: British Film Institute, 1985).  pp. 281-285.  Reprint of 1977 interview.

"Forms, Politics, Makers and Contexts:  Basic Issues for a Theory of Radical Political Documentary," in The Documentary Today (conference publication) (St. Paul: Film in the Cities, 1984), pp. 15-23.  Shortened version of 1984 article.

"Forms, Politics, Makers, and Contexts:  Basic Issues for a Theory of Radical Political Documentary," in Thomas Waugh, ed., Show Us Life:  Towards a History and Aesthetics of Radical Documentary Film (Metuchen NJ: Scarecrow Press, 1984), pp. 318-342.

"Contemporary Working Class Film Heroes:  EVEL KNIEVEL and THE LAST AMERICAN HERO," in Winfried Fluck, ed.  Populäre Kultur.  Ein Studienbuch zur Funktionsbestimmung und Interpretation populärer Kultur.  Stuttgart: Metzler, 1980, pp. 136-151.  (Amerikastudien: Studienband 2.).  Reprint of 1974.

"The Actor as Actress:  Holly Woodlawn in TRASH and Divine in MULTIPLE MANIACS," essay for festival catalogue, The Actress on Film/Chicago, Film Center, School of the Art Institute of Chicago (Jan. 1979).

"TWO OR THREE THINGS I KNOW ABOUT HER:  Godard's Analysis of Women in Capitalist Society," in Patricia Erens, ed., Sexual Stratagems:  The World of Women in Film (NY: Horizon, 1979), pp. 72-81.  Reprint in revised and abridged form of "TWO OR THREE THINGS...," 1973.

"Dagens arbetarklassfilmhjaltar," in Olle Sjogren, tr., ed. Filmen ledbilder:  Marxistiska filmanalyser (Stockholm: Pan, 1976), pp. 176-196.  Reprint, slightly shortened, of "Contemporary Working Class Film Heroes...," 1974.

"MARILYN TIMES FIVE," in Karyn Kay and Gerald Peary, eds., Women and the Cinema:  A Critical Anthology (NY: Dutton, 1977).  Reprint in revised excerpt form of "Seeing Through Cinema Verite...," 1974.


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