JUMP CUT
A REVIEW OF CONTEMPORARY MEDIA

Articles (other than JUMP CUT )

“Virtual Child Porn: The Law and the Semiotics of the Image,” Journal of Visual Culture, 3:2, April 2004, 35-52.

“Becoming Hollywood?  Hong Kong Cinema in the New Century,” Film Appreciation (Taiwan, Chinese language translation by Yeh Yueh-yu), November 2000, 23-28.

“Siempre Selena!”  14th Annual Chicago Latino Film Festival catalogue (Chicago, March  1998), in English and Spanish (tr. Isidro Lucas), 127-129.

with John Hess, "États Unis," tr. Marie-Odile Dupé, Cinémaction (Paris), special issue on “Les revues de cinéma dans le monde,”; no. 69 (1993), 148-164., 248-251.  [translation of Jump Cut article].

“Touch This: Barbara Hammer’s Risky Visions,” catalogue essay for a retrospective show, "The Films of Barbara Hammer," Mary Reimer Ross Film Theatre, University of Nebraska, March 1992. [commissioned essay; designed brochure, includes photo essay from framegrabbed stills]

“Documentary Filmmaking on the Margins:  Bill Stamets’ Super 8mm Ethnography,”  Cinematograph, 4 (1991), 161-168.

"My Aunt Alice's Home Movies," Journal of Film and Video, 38:3-4 (summer-fall, 1986) pp. 25-35.

with B. Ruby Rich, "Le Cinéma d'avant-garde et ses rapports avec le cinéma militant," tr. Katerina Thomadeki.  Cinémaction, no. 10-11, spring-summer 1980, pp. 55-68.

"Notes on Melodrama and the Family under Capitalism," Film Reader no. 3 (1980), pp. 40-47.

with Julia Lesage, "Marxism and Film Criticism:  The Current Situation," Minnesota Review, NS 8 (spring 1977), pp.146-149.

"TWO OR THREE THINGS I KNOW ABOUT HER," Women and Film,1: 3-4 (summer 1973), pp. 65-72.

"The Beach Boys:  Surfin' on the Tidal Wave of History," Hubris 1:4 (Apr. 1973), pp. 8-11.

with Julia Lesage, "The Fallacy of Prolepsis:  A Critique of Yves de Laurot's Cinema Engage," Cineaste, 5:4 (winter 1972-3), pp. 25-34.


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