Featured White Papers
Literature Film Quarterly
View more issues: 1998, 1999, 2001
Articles in 2000 issue of Literature Film Quarterly
- Blood visibility/invisibility in Kurosawa's Ran
by Serper, Zvika - which original works? Tracking sophocles's narrative in Jean de Florette and Manon des sources
by Binet, Marie-Jo Arey - Misshapen chaos of well-seeming form: Baz Luhrmann's Romeo + Juliet
by Downing, Crystal - deconstructive search for Oz, The
by Hamelman, Steven - Hollywood Pre-Code
by Wilson, Ronald W - Re-viewing Stanley Kubrick
by J, Gene D Phillips S - Reading the birds and The Birds
by Morris, Christopher D - Vanessa Redgrave's Mrs. Dalloway: Revolutionary or recluse?
by Frome, Susan - magnificent Ambersons: Unmasking the code, The
by Fitzsimmons, Lorna - Cinematizing the euripidean and sophoclean spatial dialectics: On the "Skene-self" in Pasolini's Medea and Edipo Re
by Catania, Saviour - When "good" men turn bad: Mary Reilly as disturbing allegory of domestic abuse
by Foss, Chris - Julius Caesar in the Cold War: The Houseman-Mankiewicz film
by Miller, Anthony - Hollywood's "scriptgirls"
by Ciecko, Anne - Frankenstein
by Whalen, Tom - Fashion dreams: Hitchcock, women, and Lisa Fremont
by Fawell, John - shades of modern mourning in Three Colours trilogy, The
by Clewell, Tammy - Pop goes the Shakespeare: Baz Luhrmann's William Shakespeare's Romeo + Juliet
by Walker, Elsie - "It wasn't like that in the book"
by McFarlane, Brian - F. Scott Fitzgerald and the problem of film adaptation
by Cunningham, Frank E - Baz vs. the Bardolaters, or why William Shakespeare's Romeo + Juliet deserves another look
by Hamilton, Lucy - "It doesn't pay to antagonize the public": Sabotage and Hitchcock's audience
by Osteen, Mark - Barton Fink, intertextuality, and the (almost) unbearable richness of viewing
by Dunne, Michael - Reduced Shakespeare: Bard bits & Bard books
by Welsh, Jim - Taming impulses: Murnau's Sunrise and the exorcism of expressionism
by Prager, Brad - "Call Me By My Name": Personal identity and possession in The English Patient
by Emery, Sharyn - Frank Lloyd's Berkeley Square (1933): Re-adapting Henry James's The Sense of the Past
by Frischkorn, Craig - Appropriation of generic convention: Film as paradigm in Michael Herr's Dispatches
by Gordon, Maggie - Some notes on racial trauma in Peter Weir's Fearless
by Tandeciarz, Silvia - Sweetest tongue has sharpest tooth: The dangers of dreaming in Neil Jordan's The Company of Wolves
by Zucker, Carole - Letters & "debates"
- 101 ways to tell Hitchcock's psycho from Gus Van Sant's
by Leitch, Thomas M - Hitchcock's terrible mothers
by Dick, Bernard F - Gender, caretaking, and the three Sabrinas
by Wood, Gerald C - Confessions of an Assistant Director
by Phillips, Gene D - effects of primacy and recency upon audience response to five film versions of Shakespeare's Hamlet, The
by Lake, James H - Raising Cain with the censors, again: The Postman Always Rings Twice (1946)
by Biesen, Sheri Chinen - Portrayals of black masculinity in Oscar Micheaux's The Homesteader
by Butters, Gerald R Jr - Mose Harper: Eccentricity and survival in the Searchers
by Cole, David L - "To sup with horrors": Julie Taymor's Senecan feast
by Welsh, Jim - Dinesen in three dimensions: A comparing of irony in two films of Dinesen's stories
by Branson, Stephanie - Beyond adaptation: A comparative study of Francois Truffaut's La Chambre verte and Henry James's "Rose-Agathe"
by Bloom, Michelle E - Manchurian Candidate and the gender of the Cold War, The
by Jackson, Tony - Hoffa and The Untouchables: Mamet's brutal orders of authority
by Brewer, Gaylord - Authenticity and ethics in The Third Man
by Schwab, Ulrike