Issue 50 (Fall 2009)
Drake Stutesman Editorial
Susan Slyomovics Edward Said’s Nazareth
What now? Re-enactment in Contemporary Documentary Film, Video, And Performance Dossier
Guest Editor: Jonathan Kahana
Jonathan Kahana Introduction: What Now? Presenting Re-enactment
Jonathan Kahana Re-staging Two Laws: An Interview with Alessandro Cavadini and Carolyn Strachan
Christopher Pavsek The Black Holes of History: Raoul Peck’s Two Lumumbas
Deirdre Boyle Shattering Silence: Traumatic Memory and Re-enactment in Rithy Panh's S-21: The Khmer Rouge Killing Machine
Ruth Erickson The Real Movie: Re-enactment, Spectacle, and Recovery in Pierre Huyghe’s The Third Memory
Karen Beckman Gender, Power, and Pedagogy in Coco Fusco’s Bare Life Study #1 (2005), A Room of One’s Own (2005), and Operation Atropos (2006)
Paige Sarlin New Left-wing Melancholy: Mark Tribe’s The Port Huron Project and the Politics of Re-enactment
E. Ann Kaplan Women, Trauma and Late Modernity: Sontag, Duras and Silence in Cinema 1960–1980
Cinephilia Dossier: What is Being Fought for by Today’s Cinephilia(S)?
Guest Editors: Jonathan Buchsbaum and Elena Gorfinkel
Jonathan Buchsbaum and Elena Gorfinkel Introduction
Jonathan Rosenbaum Reply to Cinephilia survey
Ken Eisenstein “They are like black lakes troubled by fantastic moons”
Laura Mulvey Some reflections on the Cinephilia question
Chris Fujiwara Cinephilia and the Imagination of Filmmaking
Nicole Brenez For A History Of Resistant Cinema
Laurent Jullier Untitled
James Quandt Everyone I Know is Stayin’ Home: The New Cinephilia
Zachary Campbell On the Political Challenges of the Cinephile Today
Lucas Hilderbrand Cinematic Promiscuity: Cinephilia after Videophilia
Girish Shambu What is Being Fought for by Today’s Cinephilia(S)?
Adrian Martin Cinephilia as War Machine
Aboubakar Sanogo Regarding Cinephilia and Africa
Dudley Andrew “Writing On The Screen:” An Interview with Emmanuel Burdeau
Donna Casella What Women Want: The Complex World of Dorothy Arzner and Her Cinematic Women
Reviews