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Volume 7, 2003
December 2003

Journal issue on
Paracinema: The Experimental, the Avant-Garde, and the Digital
vol. 7 no. 57: Richard Porton,
Vagaries of Taste, or How 'Popular' is Popular Culture?, a reply to Vittorio Frigerio's review of Porton's Film and the Anarchist Imagination.
vol. 7 no. 56: Warwick Mules,
The Figural as Interface in Film and the New Media, on D. N. Rodowick's Reading the Figural, or, Philosophy after the New Media.
vol. 7 no. 55: Michael Truscello,
The Birth of Software Studies: Lev Manovich and Digital Materialism, on Manovich's The Language of New Media.

vol. 7 no. 54: Aaron Smuts, Film Theory Meets Video Games: An Analysis of the Issues and Methodologies in ScreenPlay, the Wallflower Press book on 'Cinema/Videogames/Interfaces', edited by Geoff King and Tanya Krzywinska.
vol. 7 no. 53: Vittorio Frigerio,
Aesthetic Contradictions and Ideological Representations: Anarchist Avant-Garde vs Swashbuckling Melodrama, on Richard Porton's Film and the Anarchist Imagination.
vol. 7 no. 52: Edward S. Small,
A Reply to Kinsey.
vol. 7 no. 51: Tammy A. Kinsey,
Let us Never Speak of It?, on Edward S. Small's Direct Theory: Experimental Film/Video as Major Genre.
vol. 7 no. 50: Edward S. Small,
Beyond Abstract Film, on Malcolm Le Grice's Experimental Cinema in the Digital Age.
vol. 7 no. 49: Liz Wells,
Reflections on Experimental Film, on The Undercut Reader, edited by Nina Danino and Michael Maziere.
vol. 7 no. 48: Kyle Harris,
Through the Pleasure Dome, on Lux: A Decade of Artists' Film and Video, edited by Steve Reinke and Tom Taylor.
November 2003
Journal issue on
Film History, Theory, and Philosophy:
vol. 7 no. 47: Cara O'Connor,
Ethics, Ambiguity, and Multi-Frame Narrative in Julie Talen's Pretend.
vol. 7 no. 46: Pablo Ortega-Rodriguez,
How is Disbelief Suspended?: The Paradox of Fiction and Carroll's The Philosophy of Horror.
vol. 7 no. 45: John S. Vassar,
A Universal Narrative?, on Ari Hiltunen's Aristotle in Hollywood.
vol. 7 no. 44: Marcia Landy,
Traveling in Film Theory, on Giuliana Bruno's Atlas of Emotion: Journeys in Art, Architecture, and Film.

vol. 7 no. 43: Martha P. Nochimson, New York Film Festival 2003, on films such as S21, Dogville, Mystic River, The Fog of War, and Free Radicals.
vol. 7 no. 42: Kristi McKim,
Remembrance of Cinema Past: Reading Nostalgia and Writing Possibility in Annette Kuhn's Dreaming of Fred and Ginger.
vol. 7 no. 41: Joke Hermes,
On Behalf of the Audience: A Critique of Janet Staiger's Notion of the Practice of Reception, on Staiger's Perverse Spectators: The Practices of Film Reception.
vol. 7 no. 40: Jan-Christopher Horak,
Change and Nothing But Change, on Philip Rosen's Change Mummified: Cinema, Historicity, Theory.
vol. 7 no. 39: Richard Schellhammer,
Moving Pictures before Cinema, on Laurent Mannoni's The Great Art of Light and Shadow: Archaeology of the Cinema.
October 2003
Journal issue on
Soviet and Asian Cinemas:
vol. 7 no. 38: George O. Liber,
Re-examining Dovzhenko's Political Environment, a response to John Riley's review of Alexander Dovzhenko: A Life in Soviet Film.
vol. 7 no. 37: Lisa Odham Stokes and Michael Hoover,
Comments on Karen Fang's Review of City on Fire: Hong Kong Cinema.
vol. 7 no. 36: Karen Fang,
The Poverty of Sociological Studies of Hong Kong Cinema, on Lisa Odham Stokes and Michael Hoover's City on Fire: Hong Kong Cinema.
vol. 7 no. 35: Sheila Petty,
Never Forfeit the Self: The Art of Zhang Yimou, on Zhang Yimou: Interviews, edited by Frances Gateward.
vol. 7 no. 34: Aakash Singh,
Kojeve's Masters and Slaves, Kurosawa's Samurai and Farmers, on The Seven Samurai.
vol. 7 no. 33: Robert Castle,
The Radical Capability of Rashomon.
vol. 7 no. 32: Dorota Ostrowska,
Sokurov's Russian Ark.
vol. 7 no. 31: John Riley,
A (Ukrainian) Life in Soviet Film, on George O. Liber's Alexander Dovzhenko: A Life in Soviet Film.
September 2003
Journal issue on
Psychoanalytic Film Theory:
vol. 7 no. 30: John Orr,
Right Direction, Wrong Turning.
vol. 7 no. 29: Richard Stamp,
Our Friend Zizek.
Two review-articles on
The Fright of Real Tears: Krzysztof Kieslowski between Theory and Post-Theory, by Slavoj Zizek.

vol. 7 no. 28: Briana Berg, Film Theory, Psychoanalysis, and Figuration.
vol. 7 no. 27: Jamie Clarke,
The Parallax Review.
vol. 7 no. 26: Rebecca M. Gordon,
Waiting for Dawn to Break.
Three review-articles on
Endless Night: Cinema and Psychoanalysis, Parallel Histories, a collection of essays edited by Janet Bergstrom.

August 2003

Journal issue on
Science-Fiction Film as Philosophy:
vol. 7 no. 25: Stephen Mulhall,
Ways of Thinking, a response to the reviews of On Film by Nathan Andersen and Julian Baggini.
vol. 7 no. 24: Julian Baggini,
Alien Ways of Thinking.
vol. 7 no. 23: Nathan Andersen,
Is Film the Alien Other to Philosophy?
Both on Stephen Mulhall's
On Film, a philosophical analysis of the Alien quartet: Alien, Aliens, Alien3, and Alien Resurrection.
vol. 7 no. 22: Richard I. Pope,
In Kubrick's Crypt, a Derrida/Deleuze Monster, on 2001: A Space Odyssey.

vol. 7 no. 21: Lysa Rivera, Screening the Postmodern, on Vivian Sobchack's Screening Space: The American Science Fiction Film.
vol. 7 no. 20: Jon Baldwin,
Other Bother: The Alien in Science Fiction Cinema, on Aliens R Us: The Other in Science Fiction Cinema, edited by Ziauddin Sardar and Sean Cubitt.
vol. 7 no. 19: Anna Powell,
Selling Space, on King and Krzywinska's Science Fiction Cinema: From Outer Space to Cyberspace.
July 2003

Journal issue on
Television Studies:
vol. 7 no. 18: David Lavery,
Response to Jonathan Gray.
vol. 7 no. 17: Jonathan Gray,
Critiquing the Critics, on Teleparody: Predicting/Preventing the TV Discourse of Tomorrow, edited by Angela Hague and David Lavery.
vol. 7 no. 16: John Corner,
Keeping a Distance, a response to White's review below.
vol. 7 no. 15: Rosemary White,
Television at a Distance, on John Corner's Critical Ideas in Television Studies.

June 2003
vol. 7 no. 14: Daniel Keyes,
The Context for Reproducing Knowledge, on Colin MacCabe's The Eloquence of the Vulgar: Language, Cinema and the Politics of Culture.

vol. 7 no. 13: Andrea Dahlberg, On the Fortieth Anniversary of Borom Sarret, on Ousmane Sembene's 18 minute-long Senegalese film from 1963.
vol. 7 no. 12: F. Parsa,
Letter from Tehran.
May 2003
vol. 7 no. 11: Paul McEwan,
The Voice and Masculinity, on Close Up: Cinema and Modernism 1927-1933, edited by James Donald, Anne Friedberg, and Laura Marcus.
vol. 7 no. 10: Christopher Bodnar,
The Database, Logic, and Suffering: Memento and Random-Access Information Aesthetics.
April 2003
vol. 7 no. 9: David Sorfa,
Why Bother with Cinema?, on Paolo Cherchi-Usai's The Death of Cinema: History, Cultural Memory and the Digital Dark Age.
vol. 7 no. 8: Chris Darke,
Letter from London, on Chris Petit, Abbas Kiarostami, Lynne Ramsay, Iain Sinclair, J. G. Ballard, and surveillance cinema.

March 2003
vol. 7 no. 7: Daniel Coffeen,
This is Cinema: The Pleated Plenitude of the Cinematic Sign in David Lynch's Mulholland Dr.

February 2003
Journal issue on
Deborah Thomas/Hollywood:
vol. 7 no. 6: Deborah Thomas,
A Reply to Mogg and Chopra-Gant.
vol. 7 no. 5: Mike Chopra-Gant,
Hollywood Spaces, on Deborah Thomas's Reading Hollywood: Spaces and Meanings in American Film.
vol. 7 no. 4: Ken Mogg,
Small World, on Deborah Thomas's Beyond Genre: Melodrama, Comedy and Romance in Hollywood Films.
January 2003
vol. 7 no. 3: David Roden,
Derrida Framed, on Kirby Dick and Amy Ziering Kofman's documentary about the famous French philosopher.
vol. 7 no. 2: Ronald W. Wilson,
The Auteur of Darkness, on Chris Fujiwara's Jacques Tourneur: The Cinema of Nightfall.
vol. 7 no. 1: Hye Seung Chung,
One Culture, Two Cinematic Nations, on Hyangjin Lee's Contemporary Korean Cinema: Identity, Culture, Politics.