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[ View contents of Framework 43.1 ] EDITORIAL Framework: the Journal of Cinema and Media is an English-language based, international journal dedicated to theoretical and historical work on contemporary developments in world film and media. Framework has always been known for diverse explorations of these topics, revealed in its choice of subjects, authors and editorial board. These represent not only up-to-date scholarship but also work within preservation and archiving. Framework (1971-1992) provided an open forum for study of film theory, Hollywood, television, and independent cinema production by writers as varied as Jean-Luc Godard, Umberto Eco, Pier Paolo Pasolini, Ashish Rajadhyashka, Laura Mulvey, Glauber Rocha, Jean-François Lyotard, Patricia Mellencamp, Manthia Diawara and Peter Wollen. It devoted issues to British, Indian, Sri Lankan, Chinese, Vietnamese, Latin American, independent American, and Australian cinemas. Most issues contained reprints of ground-breaking early twentieth century film theories by Germaine Dulac, Ricciotto Canudo, Dorothy Richardson and others. Some of these entries are available on Framework's website: ww w.frameworkonline.com. The website compliments our print issues, providing access to a selection of articles from Framework past and present, complete contents' list of back issues which are for sale, information on our editorial board, updated reviews, author's notes and email address. This issue inaugurates Framework with a new publisher, Wayne State University Press, and for the first time houses Framework in the United States. Too long out of print, the return of Framework has brought excitement among many who have missed its informative and often radical contents. Framework aims to examine the transitional terrain of film and media and promote diversity in cultural, geographical, and intellectual background. We provide a platform for interviews, reviews of particular regions, themes and practitioners; and, where necessary, supply facilities for translation of such material. We offer information about intellectual and national traditions in world cinema and media and continue to historicize film and media theories, texts and social practices and to comment on cultural policies. Framework engages in conferences, exhibitions and special film/media programs in a variety of international venues. We are committed to articles which fit with our particular focuses on archaeology, interviews, themed articles and dossiers, and film and book reviews. Some are reflected in this issue and others highlighted in issues to follow. Our three upcoming issues are devoted to an international voice. Issue 43.2 (Fall 2002), on Middle Eastern Media Arts, includes articles by Hamid Naficy on Iranian exilic cinema, Viola Shafik on the history of Egyptian documentaries, interviews with Lebanon's Jayce Salloum, Turkey's Yesim Ustaoglu, Morocco's Abdelkader Lagtaa and art pieces by Palestinian Azza El Hassan and Lebanese Walid Ra'ad. Issue 44.1 (Spring 2002), on Latin American Cinema, contains writing from Michael Chanan on Cuban cinema, Lucia Nagib on Carlos Diegues and Lisa Shaw on carnivalesque in Brazilian comedies of the '30s, '40s and '50s. Issue 44.2 (Fall 2003) is devoted to the cinematic/media representation of the Roma minority. It explores such topics as the dynamics of representation and self-representation, Roma in migration, Romany diaspora in cinema and Romany heritage in film and media. Issue 43.1 is unthemed, with attention to practitioners and a strong historical focus. Directors are given an insider's perspective through Peter Wollen's panoptic view of Howard Hawk's reputation in his Who The Hell Is Howard Hawks; through a last interview, before his death in November 2001, with Budd Boetticher, the director key to changes in the Western; and in director Terence Davies' own sardonic take on today's violence in his Illustrious Corpuscles. Early to mid-century cinema is explored through Timothy Barnard's exposé of the silent cinema projectionist's complex and deadly political and artistic world in The 'Machine Operator': Deus Ex Machina Of The Storefront Cinema; Angela Dalle Vacche's revelatory Asta Nielsen's Acting: Motion, Emotion, And The Camera-Eye on Nielsen's subtle, intuitive use of her body to effect the close-up's impact; and Vincent Porter's discussion of English cinema's debt to French writers and directors in his Strangers on the Shore: The Contributions Of French Novelists And Directors To British Cinema, 1946-1960. In more modern times, Brian Price looks at the much neglected subject of Robert Bresson's color films and a potential political sub-story in his Une femme douce and the Spectrum of Revolt: Bresson's Transition to Color in the Aftermath of May '68; John Corner examines television biographies in his Biography Within The Documentary Frame: A Note; and Peter Lehman and Susan Hunt reveal the phallus as a demeaned power symbol in '90s films in their Severed Heads And Severed Genitals: Violence in Dead Presidents. Drake Stutesman and Annette Hill FRAMEWORK - 43.1 CONTENTS
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FRAMEWORK
43.1 (Spring 2002)
