Volume 40
Volume 40
Volume 40, number 1 (1999)
Martin Hunt: The poetry of the ordinary: Terence Davies and the social art film
Jyotika Virdi: Reverence, rape - and then revenge: popular Hindi cinema's 'woman's film'
Elizabeth Hills: From 'figurative males' to action heroines: further thoughts on active women in the cinema
Pauline MacRory: Excusing the violence of Hollywood women: music in Nikita and Point of No Return
David Oswell: And what might our children become? Future visions, governance and the child television audience in postwar Britain
Volume 40, number 2 (1999) : Special Effects issue
Sean Cubitt: Introduction: le réel, c'est l'impossible: the sublime time of special effects
Warren Buckland: Between science fact and science fiction: Spielberg's digital dinosaurs, possible worlds, and the new aesthetic realism
Alison McMahan: The effect of multiform narrative on subjectivity
Michelle Pierson: CGI effects in Hollywood science fiction cinema 1989-1995: the wonder years
Yvonne Spielmann: Expanding film into digital media
Volume 40, number 3 (1999) : Space/place, city and film
Karen Lury and Doreen Massey: Making connections
Aine O'Healy: Revisiting the belly of Naples: the body and the city in the films of Mario Martone
Alastair Phillips: Performing Paris: myths of the city in Robert Siodmak's emigre musical La Vie Parisienne
Kristi Wilson: Time, space and vision: Nicolas Roeg's Don't Look Now
James Donald: Talking the talk, walking the walk
The Godard dossier:
James S. Williams: The signs amongst us: Jean-Luc Godard's Histoire(s) du cinéma
Jonathan Rosenbaum: Le vrai coupable: two kinds of criticism in Godard's work
Michael Temple: The Nutty Professor: teaching film with Jean-Luc Godard
Michael Witt: The death(s) of cinema according to Godard
Volume 40, number 4 (1999)
Moya Luckett: Advertising and femininity: the case of Our Mutual Girl
Kristen Whissel: Uncle Tom, Goldilocks and the Rough Riders: early cinema's encounter with empire
Aniko Imre: White man, white mask: Mephisto meets Venus
Therese Grisham: Processes of subjectification in Fassbinder's I Only Want You to Love Me