Search

Produced by Julian Blaustein; directed by Daniel Taradash; screenplay by Daniel Taradash and Elick Moll; cinematography by Burnett Guffey; edited by William A. Lyon; art direction by Cary Odell; set [...]

Bette Davis Black and White by Julia A. Stern. Chicago, IL: University of Chicago Press, 2021. 266 pp., illus. Hardcover: $95.00, Paperback: $22.50. Julia A. Stern's book is a welcome [...]

Robin Wood on the Horror Film: Collected Essays and Reviews Edited by Barry Keith Grant with a preface by Richard Lippe. Detroit: Wayne State University Press, 2018. 456 pp., illus. [...]

The French Lieutenant's Woman Produced by Leon Clore; directed by Karel Reisz; screenplay by Harold Pinter, based on the novel by John Fowles; cinematography by Freddie Francis; edited by John [...]

Gleefully vulgar celebrations of the sexual antics of youth and other raucous rites of puberty, contemporary American teen comedies--such as American Pie (1999), Dude, Where's My Car? (2000), Loser (2000), [...]

Cold War Fomme: Lesbianism, National Identity, and Hollywood Cinema by Robert J. Corber. Durham, NC and London: Duke University Press, 2011. 225 pp., illus. Paperback: $23.95. Robert J. Corber has [...]

The Extraordinary Image: Orson Welles, Alfred Hitchcock, Stanley Kubrick, and the Reimagining of Cinema by Robert P. Kolker. New Brunswick: Rutgers University Press, 2016. 228 pp., illus. Hardcover: $27.95. Robert [...]

by Richard Barrios. New York and London: Routledge, 2003. 320 pp., illus. Hardcover: $29.95. Masculine Interests: Homoerotics in Hollywood Films by Robert Lang. New York: Columbia University Press, 2002. 384 [...]

Brian De Palma's Split-Screen: A Life in Film by Douglas Keesey. Jackson, MS.: University Press of Mississippi, 2015. 348 pp., illus. Hardcover: $55.00. Brian De Palma called the 1970s 'the [...]

Mise en Scene and Film Style: From Classical Hollywood to New Media Art by Adrian Martin. New York: Palgrave Macmillan, 2014. 272 pp., illus. Hardcover: $95.00. Certain film books--Carol Clover's [...]

The article critiques the film "Obsession" directed by Brian De Palma, which features the femininity and female sexuality. It compares the film with the film "Vertigo" directed by Alfred Hitchcock, which the contemporary American life of the 1950s and the American historical past. It also evaluates the film's theme, plot, character development and the style of the director.

The article discusses the representation of male friendship in Brian de Palma's film "Snake Eyes." The film introduces a protagonist deprived of phallic authority and drive, a protagonist excluded from the power of the homosocial sphere and the mobilizing need to consummate heterosexual desire. The film is obsessed with technological apparatuses and fluctuating manifestations of womanhood and femininity. The applications of female glamour and sexuality in De Palma are much more complicated and thematically layered than they are frequently given credit for.

An essay is presented on radicalism in 1960s horror-woman's films starring either or both Bette Davis and Joan Crawford such as "What Ever Happened to Baby Jane?", "Hush...Hush, Sweet Charlotte," and "Strait-Jacket." Topics discussed include an emphasis on onscreen gore and violence, femininity's portrayal as a troubling and troubled subject, and the lack of feminist work on 1960s campy horror-woman's films. The rare presentation of horror-woman's film stars as sexual objects is also cited.

The article offers a criticism of the film "Beyond the Forest" directed by King Vidor, featuring Bette Davis and Joseph Cotten. It is said that the film was seen as a box office failure due to its perceived disregard of Davis' character of marriage and family. It explores the film's evocation of the Medusa myth with its highly charged representation of female rage. It also aims to vindicate the film's aesthetic, feminist, and queer worth and argue against its earlier and conventional dismissal.

A letter to the editor is presented in response to the article "The Devil in the Details," an analysis of William Friedkin's film "The Exorcist," in the September/October 2010 issue.