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