> From: Automatic digest processor <[log in to unmask]>
> Reply-To: Film-Philosophy Salon <[log in to unmask]>
> Date: Thu, 4 Sep 2003 18:00:01 +0100
> To: Recipients of FILM-PHILOSOPHY digests <[log in to unmask]>
> Subject: FILM-PHILOSOPHY Digest - 3 Sep 2003 to 4 Sep 2003 (#2003-265)
>
> There are 11 messages totalling 594 lines in this issue.
>
> Topics of the day:
>
> 1. Con Game Films
> 2. con-game films (5)
> 3. Gattace
> 4. examples for Theory of Knowledge / Epistemology textbook
> 5. Media Ecology
> 6. Help needed
> 7. Film Issue of Criticism
>
> ----------------------------------------------------------------------
>
> Date: Wed, 3 Sep 2003 13:17:41 EDT
> From: Richard Armstrong <[log in to unmask]>
> Subject: Con Game Films
>
> --part1_188.1e6c1f0a.2c877c35_boundary
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>
> Double Indemnity. Must be loads of others...
> Richard
>
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> <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2 FAMILY=3D"SANSSERIF" FACE=
> =3D"Arial" LANG=3D"0">Double Indemnity. Must be loads of others...<BR>
> Richard</FONT></HTML>
>
> --part1_188.1e6c1f0a.2c877c35_boundary--
>
> ------------------------------
>
> Date: Wed, 3 Sep 2003 13:40:51 -0400
> From: Andrew Lesk <[log in to unmask]>
> Subject: Re: con-game films
>
> You MUST include Bound. Excellent con, and a lot of fun.
>
> Andrew
>
>
>
> Quoting "Tzioumakis, Yannis" <[log in to unmask]>:
>
>> Dear all,
>>
>> I am trying to put together a corpus of films that have as their defining
>> characteristic the con game and in particular the con game that is executed
>> for material profits (not for revenge or other non-monetary gains).
>> Hopefully, I ll be able to discuss them as a distinct genre (sug-genre or
>> hybrid genre of some sort).
>>
>> Besides the films of David Mamet, which are the starting point for this idea
>> I have been able to locate a few others, including: The Sting, The Grifters,
>> Confidence, Swingers, Palmetto, Chance of Music, Rounders, The Last
>> Seduction, Kill Me Again, The Con (made for TV movie) and the films of Steven
>> Schachter. Obviously a lot of these films have been labelled neo-noirs.
>> However, my taking on the subject is different
>>
>> Any help will be appreciated
>>
>> Yannis
>>
>> Yannis Tzioumakis
>> Lecturer in Screen Studies
>> Liverpool John Moores University
>> Dean Walters Building
>> St James Road
>> Liverpool
>> L1 7BR
>> 0151-231-5030
>>
>>
>
>
> Andrew Lesk
> http://www.andrewlesk.com
>
> ------------------------------
>
> Date: Wed, 3 Sep 2003 14:28:17 -0400
> From: Patricia Molloy <[log in to unmask]>
> Subject: Re: con-game films
>
> There's also an excellent 2001 Australian film called The Bank, by Robert
> Connolly (with David Wenham and Anthony Lapaglia).
>
> I would also describe The Usual Suspects as a con-game.
>
> Patricia
>
> ------------------------------
>
> Date: Wed, 3 Sep 2003 22:52:31 +0100
> From: ejmd <[log in to unmask]>
> Subject: Re: con-game films
>
> The Grifters (1990), based on the Jim Thompson novel of the same name.
>
> IMDB (film) http://www.imdb.com/title/tt0099703/
>
> SFY (screenplay) http://sfy.iv.ru/sfy.html?script=grifters
>
> Amazon (novel)
> http://www.amazon.com/exec/obidos/tg/detail/-/0679732489/002-3492628-7530452
> ?v=glance
>
> HTH
>
> ED
>
> ------------------------------
>
> Date: Wed, 3 Sep 2003 17:49:23 -0700
> From: lysa rivera <[log in to unmask]>
> Subject: Re: con-game films
>
> Does anyone know if the film _Gattaca_ is based on a particular SF novel
> or short-story? The film stars Ethan Hawke and was released, I believe,
> in 1996, or thereabout. Thanks!
>
>
> ************************************
> Alicia Rivera
> Seattle, Washington.
>
> ------------------------------
>
> Date: Wed, 3 Sep 2003 21:09:13 -0400
> From: Andrew Lesk <[log in to unmask]>
> Subject: Re: Gattace
>
> Apparently, just a screen version, although someone has said that it is
> similar
> to a short story, "Sisters," by Greg Bear.
>
> (See http://us.imdb.com/title/tt0119177/board/nest/2821387)
>
> Andrew
>
>
> Quoting lysa rivera <[log in to unmask]>:
>
>> Does anyone know if the film _Gattaca_ is based on a particular SF novel
>> or short-story? The film stars Ethan Hawke and was released, I believe,
>> in 1996, or thereabout. Thanks!
>>
>>
>> ************************************
>> Alicia Rivera
>> Seattle, Washington.
>>
>
>
> Andrew Lesk
> http://www.andrewlesk.com
>
> ------------------------------
>
> Date: Wed, 3 Sep 2003 21:42:34 EDT
> From: Eric Willstaedt <[log in to unmask]>
> Subject: Re: con-game films
>
> --part1_1a3.19a4b84b.2c87f28a_boundary
> Content-Type: text/plain; charset="US-ASCII"
> Content-Transfer-Encoding: 7bit
>
> In a message dated 9/3/2003 8:49:48 PM Eastern Daylight Time,
> [log in to unmask] writes:
>
>> Does anyone know if the film _Gattaca_ is based on a particular SF novel
>> or short-story? The film stars Ethan Hawke and was released, I believe,
>> in 1996, or thereabout. Thanks!
>
>
>
> weel it was written by the director....
>
>
>
>
> Trivia for
> Gattaca (<A HREF="http://us.imdb.com/Sections/Years/1997">1997</A>)
>
>
>
> The name "Gattaca" is composed entirely of the letters used to label the
> nucleotide bases of DNA. The four nucleotode bases of DNA (deoxyribonucleic
> acid)
> are adenine, thymine, cytosine, and guanine.
>
>
> Public address announcements in the Gattaca Corporation headquarters building
> are in Esperanto, an artifical language invented in the 19th century.
>
>
> The winding stairs in Jerome's apartment have a helical structure, like DNA.
>
>
> <A HREF="http://us.imdb.com/name/nm0000235/">Uma Thurman</A>'s character is
> named Irene Cassini. Cassini is the surname of the
> 17th century French-Italian astronomer, Jean Dominique Cassini, who
> discovered the prominent gap in Saturn's main rings, as well as the icy moons,
> Iapetus,
> Dione, Rhea, and Tethys. The space mission in Gattaca is destined for Saturn.
>
>
> <A HREF="http://us.imdb.com/name/nm0000179/">Jude Law</A>'s character asks to
> be called by his middle name, Eugene. "Eugene"
> comes from the Greek for "well born," which Jerome is. "Eugenics" (the science
> of improving the hereditary qualities of a race or breed) is the central theme
> of the film.
>
>
> The Gattaca building (interiors and exteriors) is, in reality, the Marin
> County Civic Center in San Rafael, CA. It was designed by American star
> architect
> Frank Lloyd Wright in 1957. The largest Wright design ever constructed, it was
> largely built after his death in 1959. The central dome (prominent in the
> roof-cleaning scene) contains the county library.
>
>
> The FBI agents are called "Hoovers," a reference to legendary top-G-man J.
> Edgar Hoover, but also a clever reference to a vacuum cleaner brand. There are
> numerous shots of vacuums being used to gather DNA evidence.
>
>
> The Marin County Civic Center, filming location of the Gattaca Corporation,
> was also used in George Lucas' THX 1138.
>
>
> When Gattaca was first released, as part of a marketing campaign there were
> adverts for people to call up and have their children genetically engineered.
> Thousands of people called, wanting to have their offspring genetically
> engineered
>
>
> The film's working title was "The Eighth Day", a reference to the Biblical
> creation story, which states that the earth was created in six days and on the
> seventh day, God rested. The original title implies the tampering of man with
> what God has already made, and "The Eighth Day" is still the name of the
> center
> in the movie where the children are engineered, as noted on the DVD deleted
> scenes.
>
>
> The piece played by the six-fingered pianist is based on Impromptu in G Flat
> Major, Op. 90, No. 3. by Franz Schubert (1797 - 1828). However, the creators
> did a beautiful job embellishing the piece with additional notes/harmonies so
> that it "can only be played with twelve[fingers]," as the Uma Thurman
> character
> notes.
>
>
> Vincent's car is a 1963 Studebaker Avanti.
>
>
> The exterior shots of Ethan Hawke/Jude Law's apartment is actually the CLA
> (Classrooms, Laboratories, and Administration) Building of Cal Poly Pomona.
>
>
>
>
> --part1_1a3.19a4b84b.2c87f28a_boundary
> Content-Type: text/html; charset="US-ASCII"
> Content-Transfer-Encoding: quoted-printable
>
> <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D3 FAMILY=3D"SCRIPT" FACE=
> =3D"Comic Sans MS" LANG=3D"0">In a message dated 9/3/2003 8:49:48 PM Eastern=
> Daylight Time, [log in to unmask] writes:<BR>
> <BR>
> <BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT=
> : 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px"></FONT><FONT COLOR=3D"#000000"=
> style=3D"BACKGROUND-COLOR: #ffffff" SIZE=3D2 FAMILY=3D"SANSSERIF" FACE=3D"A=
> rial" LANG=3D"0">Does anyone know if the film _Gattaca_ is based on a partic=
> ular SF novel<BR>
> or short-story? The film stars Ethan Hawke and was released, I believe=
> ,<BR>
> in 1996, or thereabout. Thanks!</BLOCKQUOTE></FONT><FONT COLOR=3D"#00=
> 0000" style=3D"BACKGROUND-COLOR: #ffffff" SIZE=3D2 FAMILY=3D"SANSSERIF" FACE=
> =3D"Arial" LANG=3D"0"><BR>
> <BR>
> </FONT><FONT COLOR=3D"#000000" style=3D"BACKGROUND-COLOR: #ffffff" SIZE=3D3=
> FAMILY=3D"SCRIPT" FACE=3D"Comic Sans MS" LANG=3D"0"><BR>
> </FONT><FONT COLOR=3D"#000000" style=3D"BACKGROUND-COLOR: #ffffff" SIZE=3D2=
> FAMILY=3D"SANSSERIF" FACE=3D"Arial" LANG=3D"0"><BR>
> weel it was written by the director....<BR>
> </FONT><FONT COLOR=3D"#000000" style=3D"BACKGROUND-COLOR: #ffffff" SIZE=3D2=
> FAMILY=3D"SANSSERIF" FACE=3D"Arial" LANG=3D"0"><BR>
> <BR>
> </FONT><FONT COLOR=3D"#000000" style=3D"BACKGROUND-COLOR: #ffffff" SIZE=3D6=
> FAMILY=3D"SANSSERIF" FACE=3D"Arial" LANG=3D"0"><BR>
> <BR>
> <P ALIGN=3DCENTER><B>Trivia for <BR>
> Gattaca </FONT><FONT COLOR=3D"#000000" style=3D"BACKGROUND-COLOR:
> #ffffff"=20=
> SIZE=3D2 FAMILY=3D"SANSSERIF" FACE=3D"Arial" LANG=3D"0"><SMALL><SMALL><SMALL=
>> (<A HREF=3D"http://us.imdb.com/Sections/Years/1997">1997</A>)</FONT><FONT
>> =20=
> COLOR=3D"#000000" style=3D"BACKGROUND-COLOR: #ffffff" SIZE=3D2 FAMILY=3D"SAN=
> SSERIF" FACE=3D"Arial" LANG=3D"0"></SMALL></SMALL> </B><BR>
> <BR>
> <P ALIGN=3DLEFT> <BR>
> <BR>
> The name "Gattaca" is composed entirely of the letters used to label the nuc=
> leotide bases of DNA. The four nucleotode bases of DNA (deoxyribonucleic aci=
> d) are adenine, thymine, cytosine, and guanine.<BR>
> <BR>
> <BR>
> Public address announcements in the Gattaca Corporation headquarters buildin=
> g are in Esperanto, an artifical language invented in the 19th century.<BR>
> <BR>
> <BR>
> The winding stairs in Jerome's apartment have a helical structure, like DNA.=
> <BR>
> <BR>
> <BR>
> <A HREF=3D"http://us.imdb.com/name/nm0000235/">Uma Thurman</A>'s character i=
> s named Irene Cassini. Cassini is the surname of the 17th century French-Ita=
> lian astronomer, Jean Dominique Cassini, who discovered the prominent gap in=
> Saturn's main rings, as well as the icy moons, Iapetus, Dione, Rhea, and Te=
> thys. The space mission in Gattaca is destined for Saturn.<BR>
> <BR>
> <BR>
> <A HREF=3D"http://us.imdb.com/name/nm0000179/">Jude Law</A>'s character asks=
> to be called by his middle name, Eugene. "Eugene" comes from the Greek for=20=
> "well born," which Jerome is. "Eugenics" (the science of improving the hered=
> itary qualities of a race or breed) is the central theme of the film.<BR>
> <BR>
> <BR>
> The Gattaca building (interiors and exteriors) is, in reality, the Marin Cou=
> nty Civic Center in San Rafael, CA. It was designed by American star archite=
> ct Frank Lloyd Wright in 1957. The largest Wright design ever constructed, i=
> t was largely built after his death in 1959. The central dome (prominent
> in=20=
> the roof-cleaning scene) contains the county library.<BR>
> <BR>
> <BR>
> The FBI agents are called "Hoovers," a reference to legendary top-G-man J. E=
> dgar Hoover, but also a clever reference to a vacuum cleaner brand. There ar=
> e numerous shots of vacuums being used to gather DNA evidence.<BR>
> <BR>
> <BR>
> The Marin County Civic Center, filming location of the Gattaca
> Corporation,=20=
> was also used in George Lucas' THX 1138.<BR>
> <BR>
> <BR>
> When Gattaca was first released, as part of a marketing campaign there
> were=20=
> adverts for people to call up and have their children genetically engineered=
> . Thousands of people called, wanting to have their offspring genetically en=
> gineered<BR>
> <BR>
> <BR>
> The film's working title was "The Eighth Day", a reference to the Biblical c=
> reation story, which states that the earth was created in six days and on th=
> e seventh day, God rested. The original title implies the tampering of man w=
> ith what God has already made, and "The Eighth Day" is still the name of the=
> center in the movie where the children are engineered, as noted on the DVD=20=
> deleted scenes.<BR>
> <BR>
> <BR>
> The piece played by the six-fingered pianist is based on Impromptu in G Flat=
> Major, Op. 90, No. 3. by Franz Schubert (1797 - 1828). However, the creator=
> s did a beautiful job embellishing the piece with additional notes/harmonies=
> so that it "can only be played with twelve[fingers]," as the Uma Thurman ch=
> aracter notes.<BR>
> <BR>
> <BR>
> Vincent's car is a 1963 Studebaker Avanti.<BR>
> <BR>
> <BR>
> The exterior shots of Ethan Hawke/Jude Law's apartment is actually the CLA (=
> Classrooms, Laboratories, and Administration) Building of Cal Poly Pomona.<B=
> R>
> <BR>
> <BR>
> <BR>
> </P></P></SMALL></FONT></HTML>
> --part1_1a3.19a4b84b.2c87f28a_boundary--
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 00:18:35 -0700
> From: Helen Tragea <[log in to unmask]>
> Subject: Re: examples for Theory of Knowledge / Epistemology textbook
>
> --0-1737596827-1062659915=:15884
> Content-Type: text/plain; charset=us-ascii
>
>
>
> Dear Dan
>
> Most of Lynch's works present the Cartesian view of the mind. Especially in
> Blue Velvet and Mulholland Drive everything we see in the film is happening in
> the mind of the main character of the film and we cant be sure whether it is a
> representation of reality or the ( mis)conception of the character's mind. In
> Blue Velvet when the story begins the camera dives into a human ear which is
> on of the entrances of the head. At the end of the film it comes out of the
> main characters's ear and we see that order in the world has beeen restored (
> the robins are back). So i am justified to believe that whatever happened in
> between might be the fantasies of the boy. In Mulholland Drive in the
> beginning there is a shot of a point of view of someone( we dont know who) who
> is approaching a pillow as if he/she is lying down. In this shot the camera
> actually takes the place of a head approaching nad lying down to the pillow.
> Later on we realise that the first part of the film was a kind of d!
> ream or
> fantasy of Diane. The camera therefore was probably was substituting Diane's
> head. In the Twin Peaks series Dale Cooper and Laura Palmer share the same
> dream as if their minds are somehow connected.
> About testimony the ideal film is Last yeat in Marieband(1961). A man
> persuades a woman tha the previous year had met in the same hotel and had
> agreed to elope. The problem is that the woman doest remeber this. However the
> man by giving her constantly details of their previous meeting manages to
> remind her the facts or to construct a false memory (?).
> Well that's all that i can think for the time being. Please inform on any
> progress you make especially on the first issue (the mind). I am very
> interested in the things that will come up.
> Helen
>
>
> ---------------------------------
> Do you Yahoo!?
> Yahoo! SiteBuilder - Free, easy-to-use web site design software
> --0-1737596827-1062659915=:15884
> Content-Type: text/html; charset=us-ascii
>
> <DIV><BR><BR>Dear Dan </DIV>
> <DIV> </DIV>
> <DIV>Most of Lynch's works present the Cartesian view of the mind. Especially
> in Blue Velvet and Mulholland Drive everything we see in the film is happening
> in the mind of the main character of the film and we cant be sure whether it
> is a representation of reality or the ( mis)conception of the character's
> mind. In Blue Velvet when the story begins the camera dives into a human ear
> which is on of the entrances of the head. At the end of the film it comes
> out of the main characters's ear and we see that order in the world has beeen
> restored ( the robins are back). So i am justified to believe that whatever
> happened in between might be the fantasies of the boy. In Mulholland
> Drive in the beginning there is a shot of a point of view of someone( we
> dont know who) who is approaching a pillow as if he/she is lying down. In this
> shot the camera actually takes the place of a head approaching nad lying
> down to the pillow. Later on we realise that the first pa!
> rt of the
> film was a kind of dream or fantasy of Diane. The camera therefore was
> probably was substituting Diane's head. In the Twin Peaks series Dale
> Cooper and Laura Palmer share the same dream as if their minds are
> somehow connected. </DIV>
> <DIV>About<STRONG> testimony</STRONG> the ideal film is Last yeat in
> Marieband(1961). A man persuades a woman tha the previous year had met in the
> same hotel and had agreed to elope. The problem is that the woman doest
> remeber this. However the man by giving her constantly details of their
> previous meeting manages to remind her the facts or to construct a false
> memory (?).</DIV>
> <DIV>Well that's all that i can think for the time being. Please inform on any
> progress you make especially on the first issue (the mind). I am very
> interested in the things that will come up.</DIV>
> <DIV>Helen</DIV><p><hr SIZE=1>
> Do you Yahoo!?<br>
> <a
> href="http://us.rd.yahoo.com/evt=10469/*http://sitebuilder.yahoo.com">Yahoo!
> SiteBuilder</a> - Free, easy-to-use web site design software
> --0-1737596827-1062659915=:15884--
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 12:10:59 +0100
> From: [log in to unmask]
> Subject: Media Ecology
>
> From: Douglas Rushkoff <[log in to unmask]>
> Subject: For Nettime, if you feel it is appropriate
>
> The 5th Anniversary of the Media Ecology Association
> A Celebration
> Guest of Honor: Neil Postman
>
> 7:30-10:00 PM on September 4th, 2003
> at Fordham University's Lincoln Center Campus
> 113 West 60th Street, corner of Columbus Avenue
> Leo Lowenstein Hall, 12th Floor
>
> Open to the Public
>
>
> Moderated by Lance Strate, Fordham University
>
> I. In Memory of Walter J. Ong, SJ
>
> II. From God's Word to Holy War
> A Panel Discussion on Media and Religion
> Douglas Rushkoff, New York University
> Eric McLuhan, University of Toronto
> Paul Levinson, Fordham University
> Ray Smith, Iona College
> Cheryl Anne Casey, Sacred Heart University
> Read Mercer Schuchardt, Marymount Manhattan College
>
> III. "And Now This: A Media Ecology Video"
> by Margot Hardenbergh, Fordham University
> and Michael Grabowski, College of New Rochelle
>
> IV. Honoring Neil Postman: A Special Presentation
>
> V. Reception
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 07:37:35 -0400
> From: Valentina <[log in to unmask]>
> Subject: Help needed
>
> Could anyone recommend some text that analyzed the history of film
> pohotographic style as meaning creator . I'm partculary intersted in movies
> with political content, such as Costa Gavras: "Mssing", "State of Siege"
>
> thanks
>
> ------------------------------
>
> Date: Thu, 4 Sep 2003 11:48:53 -0400
> From: Robert Burgoyne <[log in to unmask]>
> Subject: Film Issue of Criticism
>
> --=====================_2869145==.ALT
> Content-Type: text/plain; charset="us-ascii"; format=flowed
>
>
>
>> ***
>> CRITICISM: A QUARTERLY FOR LITERATURE AND THE ARTS
>> Lesley Brill and Robert Burgoyne, Guest Editors, Film Issue
>> Renata Wasserman, Editor, Criticism
>>
>> Wayne State University Press announces two special issues of Criticism
>> devoted to film. The contents of the first special issue reflect a wide
>> breadth of approaches. Articles range from "The Postmodern Sublime" to the
>> film acting of Gary Cooper, from a unique framework for understanding mass
>> politics in cinema to the video installations of Gary Hall. The second
>> special issue, scheduled to appear for Fall 2003, will include as great a
>> variety of approaches and subjects. Check the WSU Press Web site to see a
>> list of contributors and essays.
>>
>> More on what is inside the forthcoming issue, New and/or Neglected
>> Approaches to Understanding Moving Images:
>> ARTICLES: The Fictional Worlds of Neorealism (Patrick Keating); Believing
>> in Gary Cooper (George Toles); Working the Crowd: Movies and Mass Politics
>> (Michael Tratner); "You Never Had a Camera Inside My Head": The Masculine
>> Subject of the Postmodern Sublime (Jennifer Hammett); Tales of the City:
>> Applying Situationist Social Practice to the Analysis of the Urban Drama
>> (Deron Albright); Between Cinema and a Hard Place: Gary Hill's Video Art
>> Between Worlds and Images (S. Brent Plate)
>>
>> Criticism features scholarly and critical essays on a variety of topics,
>> offering a range of approaches to critical theory, literary history,
>> genres, and texts, including film and folklore. The journal deals with
>> artists, art, and literature from all periods, either individually or in
>> their interrelationships.
>>
>> To subscribe to this journal, please visit Wayne State University Press'
>> Web site, or contact Journals Customer Service:
>> Tel: 313-577-6119
>> e-mail: [log in to unmask]
>> Order on line: <http://wsupress.wayne.edu>http://wsupress.wayne.edu
>>
>> Subscription rates
>> Institutions: $86.00 / year
>> Individuals: $40.00 / year
>> Students / Seniors: $25.00 / year
>> Foreign Postage: $20.00 / year (surface)
>>
>> Back issues: $20.00
>> Postage: $4.00 per back issue
>>
>> ***
>>
>
> --=====================_2869145==.ALT
> Content-Type: text/html; charset="us-ascii"
>
> <html>
> <br><br>
> <blockquote type=cite class=cite cite>*** <br>
> CRITICISM: A QUARTERLY FOR LITERATURE AND THE ARTS <br>
> Lesley Brill and Robert Burgoyne, Guest Editors, Film Issue <br>
> Renata Wasserman, Editor, <i>Criticism</i> <br><br>
> Wayne State University Press announces two special issues of
> <i>Criticism</i> devoted to film. The contents of the first special issue
> reflect a wide breadth of approaches. Articles range from "The
> Postmodern Sublime" to the film acting of Gary Cooper, from a unique
> framework for understanding mass politics in cinema to the video
> installations of Gary Hall. The second special issue, scheduled to appear
> for Fall 2003, will include as great a variety of approaches and
> subjects. Check the WSU Press Web site to see a list of contributors and
> essays. <br><br>
> More on what is inside the forthcoming issue, <i>New and/or Neglected
> Approaches to Understanding Moving Images</i>: <br>
> ARTICLES: The Fictional Worlds of Neorealism (Patrick Keating); Believing
> in Gary Cooper (George Toles); Working the Crowd: Movies and Mass
> Politics (Michael Tratner); "You Never Had a Camera Inside My
> Head": The Masculine Subject of the Postmodern Sublime (Jennifer
> Hammett); Tales of the City: Applying Situationist Social Practice to the
> Analysis of the Urban Drama (Deron Albright); Between Cinema and a Hard
> Place: Gary Hill's Video Art Between Worlds and Images (S. Brent Plate)
> <br><br>
> <i>Criticism</i> features scholarly and critical essays on a variety of
> topics, offering a range of approaches to critical theory, literary
> history, genres, and texts, including film and folklore. The journal
> deals with artists, art, and literature from all periods, either
> individually or in their interrelationships. <br><br>
> To subscribe to this journal, please visit Wayne State University Press'
> Web site, or contact Journals Customer Service: <br>
> Tel: 313-577-6119 <br>
> e-mail: <font color="#1919FF"><u>[log in to unmask]</u></font> <br>
> Order on line:
> <a href="http://wsupress.wayne.edu"><font
> color="#1919FF"><u>http://wsupress.wayne.edu</a></u></font>
> <br><br>
> Subscription rates <br>
> Institutions: $86.00 / year <br>
> Individuals: $40.00 / year <br>
> Students / Seniors: $25.00 / year <br>
> Foreign Postage: $20.00 / year (surface) <br><br>
> Back issues: $20.00 <br>
> Postage: $4.00 per back issue <br>
> <br>
> *** <br><br>
> </blockquote></html>
>
> --=====================_2869145==.ALT--
>
> ------------------------------
>
> End of FILM-PHILOSOPHY Digest - 3 Sep 2003 to 4 Sep 2003 (#2003-265)
> ********************************************************************
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