Theme: Canadian Film
' Canadian Films and More [editor's note], ' unsigned, page 1.
# ' Canadian Cinema in the Age of Globalization, ' David L. Pike, pages 2 - 10.
# ' STET, ' Mike Cartmell, pages 11 - 15.
# ' Toward the Quebec Auteur: From Perault to Arcand, ' Georege Melnyk, pages 16 - 29.
# ' The Party's Over: Rollercoaster, ' Robin Wood, pages 30 - 34.
# ' 'In the Sun It All Looks Nice': A Note on Paul Almond's Isabel, ' Tony French, pages 35 - 41.
# ' Persistence of Vision: The Wonderful World of John Paizs, ' Robert L. Cagle, pages 42 - 49.
# ' The New Face of British Heritage, ' Deborah Tudor, pages 50 - 57.
# ' Distance: Hirokazu Kore-eda, ' Susan Morrison, pages 58 - 59.
# ' The Intimate Screen: Dogme and Beyond, ' Diane Sippl, pages 60 - 68.
# ' Book Review: Cinema's Recounting of the Ordinary [Andrew Kleven's 0Disclosure of the Everyday], ' Jeffrey Crouse, pages 69 - 71.

Theme: World Cinema Since 1990
' Editorial [editor's note], ' Robin Wood, page 1.
# ' Party Time, or Can't Hardly Wait for that American Pie: Hollywood High School Movies of the 90s, ' Robin Wood, pages 2 - 10.
# ' Time and Point of View in Contemporary Cinema, ' Temenuga Trifonova, pages 11 - 31.
# ' Are You With Me? Unemployed Negativity in Mike Leigh's Naked, ' Garry Watson, pages 32 - 45.
# ' The Import / Export Business: The Road to Abbas Kirostami's Taste of Cherry, ' Devin Orgeron, pages 46 - 51.
# ' The Most Dangerous Game: Failed Male Friendship in Brian De Palma's Snake Eyes, ' author, pages 52 - 57.
# ' Floating Desire, Floating Souls: Modern Cultural Landscape in Tsai Ming-Liang's Taipei Trilogy, ' I-Fen Wu, pages 58 - 64.
# ' Chop Suey: Photographs to Remember You By, ' Richard Lippe, pages 65 - 67.
# ' Beautiful People: In Praise of the Liberal State, ' Robert Lightning, pages 68 - 72.
# Letter from Keith Withall [on Kippur], page 72.
# Response by Florence Jocobowitz, page 72.

Theme: Max Ophus Centenary
' Max Ophus Centenary [editor's note], ' Florence Jacobowitz and Richard Lippe, pages 1 - 2.
# ' In Memory: Billy Wilder, Jack Lemmon, ' author, page 3.
# ' Circles of Delight and Despair: The Cinema of max Ophuls, ' Peter Harcourt, pages 4 - 13.
# ' Plunging Off the Deep End into the Reckless Moment, ' Robin Wood, pages 14 - 19.
# ' Falling Women and Fallible Narrators, ' Douglas Pye, pages 20 - 29.
# ' Werther (Max Ophuls, 1938), ' Michael Walker, pages 30 - 39.
# ' Yoshiwara: Max Ophuls in the Empire of Passion, ' Alexander Jacoby, pages 40 - 44.
# ' Captivated by Garbo: Max Ophuls's Roman Interlude with The Duchess of Langeais, ' Lutz Bacher, pages 45 - 53.
# ' 'Do I Disgust You?': Or, Tirez pas sur La Pianiste, ' Robin Wood, pages 54 - 61.
# ' Icons and Subversion in the Westerns of Clint Eastwood, ' Peter E. S. Babiak, pages 62 - 68.
# ' Book Review: Fred and Ginger: A Vision of Emersonian Hollywood? [review of Astaire and Rogers by Edward Gallafent], ' Jeffrey Crouse, pages 69 - 70.
# Letter from Michael McKegney [on teen films], pages 71.
# Response by Robin Wood, page 71.

Theme: New Canadian Cinema
' New Canadian Cinema [editor's note], ' Scott Forsyth, page 1.
# ' Wotcha Lookin' at, Anyway? An Examination of Point-of -View in Denys Arcand's Stardom, ' Peter Harcourt, pages 2 - 9.
# ' Quebec's Next Generation: From Lauzon to Turpin, ' George Melnyk, pages 10 - 17.
# ' Blood in the Maple Syrup: Canon, Popular Culture, and the Canuxploitation of Julian Roffman, ' Aaron Taylor, pages 18 - 28.
# ' Charting the Course of the Pacific New Wave, ' Diane Burgess, pages 29 - 33.
# ' Interview with R. Bruce Elder, ' Aysegul Koc, pages 34 - 39.
# ' Beyond the Homeland: A Comparative Introduction to Latino Film in Canada and the US, ' Elena Feder, pages 40 - 51.
# ' Seeing and Being Seen in Media Culture: Shelley Niro's Honey Moccasin, ' Darrell Varga, pages 52 - 57.
# ' Border Crossings: Representations of North American Culture in Bruce McDonald's Highway 61, ' Rochelle Simmons, pages 58 - 61.

Toronto Film Festival Reviews 2002
# ' The Consequences of Seduction: Adolph, ' Florence Jacobowitz and Richard Lippe, pages 62 - 64.
# ' The Intended, ' Robin Wood, pages 64 - 65.
# ' Unknown Pleasures, ', Shelly Kraicer, pages 65 - 66.
# ' Making and Remaking Class in Ken Loach's Recent Films, ' Scott Forsyth, pages 66 - 67.
# ' Fruit Chan's 'Excremental Vision': Public Toilet, ' Susan Morrison, pages 67 - 68.

International Film Festival Mannheim-Heidelberg
# ' When Fiction Turns Real: Suspending Disbelief, ' Diane Sippl, pages 68 - 70.
# ' Book Review: Alan King, Filmmaker, ' Janice Kaye, pages 71.

Theme: Close Readings
' Questions of Value [editor's note], ' Robin Wood, page 1.
# ' Unanswered Questions: Vision and Experience in Terrence Malick's The Thin Red Line, ' Jacob Leigh, pages 2 - 14.
# ' The Purpose of Plot and the Place of Joan Bennett in Fritz Lang's The Woman in the Window, ' Andrew Kleven, pages 15 - 21.
# ' The Age of Innocence: Martin Scorsese, 1993, ' Deborah Thomas, pages 22 - 33.
# ' Love Hurts: Redemption within the Bowels of Seil contre tous and the Cinema of Aggression, ' Dion Tubrett, pages 34 - 40.
# ' In Search of the Code inconnu, ' Robin Wood, pages 41 - 49.
# ' Apocalypse Then: Lessons of Darkness Revisited, ' Adam Bingham, pages 50 - 53.
# ' Vive le Cinema: A Reading of What Time is it There?, ' Aysegul Koc, pages 54 - 57.
# ' ... Simply Because You're Near Me: Love, Chungking Expresss and In the Mood for Love, ' Blair Miller, pages 58 - 66.
# ' Music and Modernity in A Brighter Summer Day, ' Saul Austerlitz, pages 67 - 70.
# Letter from Alexander Jacoby [on Catherine Russell's article on Ozu], page 72.
# Response from Robin Wood, page 72.

Theme: Minnelli and Ozu Centenary
' [editor's note], ' Florence Jacobowitz and Richard Lippe, pages 1 - 2.
# ' In Memoriam: Hepburn, Peck, Hepburn, ' unsigned, page 3.
# ' Being a Clown: Curious Coupling in The Pirate, ' Douglas Pye, pages 4 - 13.
# ' The Cobweb, ' Stella Bruzzi, pages 14 - 21.
# ' Home from the Hill: Vincente Minnelli, 1959, ' Michael Walker, pages 22 - 34.
# ' Love and the City: An Analysis of Vincente Minnelli's The Clock, ' Stuart Hands, pages 35 - 37.
# ' The far Side of Paradise; The Style and Substance of Yolanda and the Thief, ' Alexander Jacoby, pages 38 - 44.
# ' The Spaces In-Between: The Cinema of Yasujiro Ozu, ' Adam Bingham, pages 45 - 56.
# ' Notes Toward a Reading of Tokyo Twilight [Tokyo boshoku], ' Robin Wood, pages 57 - 58.

Toronto Film Festival Reviews 2003
# ' Los Angeles Plays Itself, ' Richard Lippe, pages 59 - 61.
# ' Notes on the Toronto Film Festival, ' Robin Wood, pages 62 - 65.
# ' Amos Gitai's Alila, ' Florence Jacobowitz, pages 65 - 67.
# ' Drifters: Smoking and Moping on the Mainland, ' Susan Morrison, pages 67 - 68.
# ' Tabio's So Far Away, ' Scott Forsyth, pages 69 - 70.
# ' The Brown Bunny, ' Dion Tubrett, pages 70 - 71.
# Letter from Catherine Russell [see previous issue's letter section], page 72.
# Letter from Jacob Leigh [correcting errors in his Malick essay], page 72.

Theme: New Directions?
' New Directions? [editor's note], ' Susan Morrison, page 1.
# ' Where Globalization and Localization Meet: Spike Lee's The 25th Hour, ' Patricia O'Neill, pages 2 - 9.
# ' The Politics of Hiccups: National Cinema with National Language, ' Aniko Imre, pages 8 - 17.
# ' Two Stories, One Right, One Wrong: Narrative, National Identity and Globalization in Sliding Doors, ' David Martin-Jones, pages 18 - 27.
# ' The Passion of Global Hollywood: ivansxtc, ' Lisa Kernan, pages 28 - 36.
# ' Korean Cinema Now: Balancing Creativity and Commerce in an Emergent National Industry, ' Peter Harry Rist, pages 37 - 45.
# ' Striking Home: Trends and Changes in Vietnamese Cinema, ' Kim Worthy, pages 46 - 53.
# ' Takashi Miike's Cinema of Outrage, ' Tony Williams, pages 54 - 62.
# ' Indigenous Feature Films: A New Hope for National Cinemas?, ' Jenifer L. Gauthier, pages 63 - 71.
# Letter from representatives of the Film Studies Association of Canada [on the attacks on Catherine Russell's essay on Ozu], page 72.
# Editorial note from Scott Forsyth [on the letter exchanges concerning Catherine Russell's article on Ozu], page 72.
# Response from Robin Wood [to Russell's letter in issue No. 63], page 72.

Theme: Sex, Terror, Madness, Canada
' Sex, Terror, Madness, Canada [editor's note], ' Scott Forsyth, page 1.
# ' In the Web of David Cronenberg: Spider and the New Auteurism, ' Reni Celeste, pages 2 - 5.
# ' Thoroughly Modern Maddin, ' David Pike, pages 6 - 18.
# ' Canadian Social Documentary in the Age of Michael Moore: The Corporation and The Fix, ' Seth Feldman, pages 17 - 19.
# ' Gay Guerrilla Filmmaking and Terrorist Chic: Toronto Filmmaker Bruce LaBruce Discusses His Latest Art/Porn Feature, The Raspberry Reich, ' Matthew Hays, pages 20 - 24.
# ' Caress, The Decay: Queer Desire in he Nature of Nicholas , ' Andrew Lesk, pages 25 - 29.
# ' The Local and the Global Revisited: Un 32 A?ut sur terre, ' Darrell Varga, pages 30 - 36.
# ' You Watch To Much TV, Kid: Causalities of Cultural Colonialism, ' Robert L. Cagle, pages 37 - 43.
# ' Tedium and Torture: Fight Club, Globalization, and Professionals in Crisis, ' John McCullough, pages 44 - 53.
# ' Allegorical Figurations and the Political Didactic in Bulworth, ' Reagan Ross, pages 54 - 63.

Toronto International Film Festival
# ' Bridges: Notre Musique ' Peter Harcourt, pages 63 - 64.
# ' Hou Hsiao-Hsien's Cafe Lumiere ' Florence Jacobowitz, pages 65 - 66.
# ' The Ninth Day and Downfall ' Susan Morrison, pages 66 - 67.
# ' Living and Looking at Life: Bruce Webber Interviewed ' Richard Lippe, pages 67 - 70.
# ' The Toronto Film Festival: Random Thoughts ' Robin Wood, pages 71 - 72.

Theme: Questions of Value.
' Questions of Value ' [a note from the editors],' Robin Wood, page 1.
# ' A.I. or The Agony of Steven Spielberg,' William Beard, pages 2 - 11.
# 'Metropolis: Rstoration, Re?valuation,' Susan Smith, pages 12 - 23.
# 'Pleasures of The Big Sleep,' Nathan Holmes, pages 24 - 28.
# 'The Centre Cannot Hold: Betrayals in Alfred Hitchcock's Topaz,' Justin E. A. Busch, pages 29 - 41.
# 'This is Not a Game: Alan J. Pakula's Rollover,' Jack Hughes, pages 42 - 49.
# ''But It's Good': Finding Value in Twentynine Palms,' Jason Wilcox, pages 50 - 60.
# 'From Within: Music in the Style of Jean Renoir,' Alex Clayton, pages 61 - 72.

Theme: Film on Film.
'Film on Film' [a note from the editors],' Florence Jacobowitz and Richard Lippe, pages 1 - 3.

Theme: Editor's Choices.
# 'Remembering Memories of Underdevelopment,' Scott Forsyth, pages 2 - 3.
# 'Zero de Conduite: Radical Cinema,' Florence Jacobowitz, pages 3 - 5.
# 'The Life and Death of Deathwatch and Dying at Grace,' Florence Jacobowitz, page 6. [Left off of the contents page.]
# 'In a Glass Cage,' Bruce LaBruce, page 7.
# 'Party Girl: Ray and Hollywood,' Richard Lippe, pages 7 - 8.
# 'Jia Zhang-ke's The World,' Susan Morrison, pages 9 - 10.
# 'Notorious,' Lori Spring, pages 10 - 11.
# 'Right Again: A Loving Tribute to Stan, Ollie, and Leo,' Robin Wood, page 11.
# 'Cinematic Meaning in the Work of David Lynch: Revisiting Twin Peaks: Fire Walk With Me, Lost Highway, and Mulholland Drive,' Michael Vass, pages 12 - 23.
# 'Looking a Lola, Looking at Cinema' Jason Wilcox, pages 24 - 37.
# 'Film, Dreams, and Stolen Pocketwatches,' Dr. Ira Nayman, pages 38 - 42.
# 'In Memoriam [photo tribute to Marlon Brando],' pages 43.
# 'Ceylan and Company: Autobiographical Trajectories of Cinema,' Diane Sippl, pages 44 - 57.
# '?nibus 174 [Bus 174]: Intention in the System of Representation,' Hans W. Staats, pages 58 - 62.
# 'Centenary,' [photo tributes to Otto Preminger and Greta Garbo], pages 63.
# 'Seeing Elephant,' Dion Tubrett, pages 64 - 72.

Theme: Natural Born Killers.
'Natural Born Killers [editorial introduction],' Susan Morrison, page 1.
# ' Articulating the Violence Debate: True Lies, Natural Born Killers, and the Terms of 'Cultural Contamination', ' Kimberly A. Owczarski, pages 2 - 10.
# ' Elephant : The Physics of Violence,' Michael Sofair, pages 11 - 17.
# 'Firepower: Herzog's Pure Cinema as the Internal Combustion of War,' Nadia Bozak, pages 18 - 25.
# 'The Unattainable Narrative: Identity, Consumerism, and the Slasher Film in Mary Harron'sAmerican Psycho,' David Robinson, pages 26 - 35.
# 'Trauma and Violence, Different Sensibilities: Nanni Moretti's The Son's Room and Todd Field's In the Bedroom,' Henry M. Taylor, pages 36 - 44.
# 'Violence, Actions, and Words in Million Dollar Baby,' Edward Gallafent, pages 45 - 52.
# 'Jia Zhangke: Life and Times Beyond the World,' Alice Shih, pages 53 - 58.

Theme: Toronto International Film Festival
# ' The Sun,' Adam Nayman, pages 59 - 60.
# ' Takeshis',' Andrew Tracy, pages 60 - 62.
# ' Cache,' Florence Jacobowitz, pages 62 - 64.
# ' Heading South/Vers Le Sud: No Exit,' Richard Lippe, pages 64 - 67.
# ' The Brutal Beauty of Labour: Workingman's Death,' Scott Forsyth, pages 67 - 68.
# ' Shangai Dreams,' Susan Morrison, pages 69 - 70.
# ' Toronto International Film Festival, ' Robin Wood, pages 70 - 71.

Theme: Films From Around the Globe: Bolivia, Canada, China, Egypt, 60s America, South Africa.
'Films From Around the Globe [a note from issue editor Scott Forsyth],' page 1. [Note: contents page gives mostly wrong page numbers]
# 'Images of the Rural: The Cinema of Quebec,' Peter Harcourt, pages 2 - 11.
# 'Anxieties of Fundamentalism and the Dynamics of Modernist Resistance: Youssef Chahine's Al Maseer [The Destiny],' Malek Khouri, pages 12 - 23.
# 'On William D. MacGillivray,' Robin Wood, pages 24 - 33.
# 'The Days of Frozen Dreams: An Interview with Wang Xizoshuai,' Alive Shih, pages 34 - 39.
# 'The Brig: The Paradox of Resistance and Recuperation,' Nicola Galombik and Michael Zryd, pages 40 - 49.
# 'Sexual Dependency: The Split Image of Globalisation,' Michael Sofair, pages 48 - 55.
# Reviews.
# 'Bruce McDonald on the West Coast: The Love Crimes of Gillian Guess,' George Melnyk, pages 56 - 58.
# 'C.R.A.Z.Y.,' George Melnyk, pages 58 - 60.
# 'Reading, Regarding, and Waiting: Three New Documentaries from Nova Scotia,' Darrelll Varga, pages 60 - 63.
# 'Some Directions in World Cinema: AFI Fest 2005, 54th International Film Festival Mannheim-Heidelberg, 7th Scandinavian Film Festival L.A.' Diane Sippl, pages 66- 69.
# 'Two Films by Amnon Buchbinder: Some Questions About the Future of Canadian Cinema,' Robin Wood, pages 69- 72.

Theme: Protest and Revolution.<br>
' Protest and Revolution [a note from issue editor Robin Wood],' pages 1 - 2.<br>

Theme: Protest and Revolution.<br>

Note: In a 'calls for submissions' note published on page 1 of issue No. 69, Wood wrote, 'In view of the current world situation it seems important to make an attempt to restore CineACTION to its original Leftist roots, which I feel have been to some degree eaten away by the pervasive discouragement and despair of the past decade.' Wood goes on to announce that he would be writing about Salt of the Earth.However, in his editorial note for this issue, Wood announced that he dropped the essay after discovering James L. Lorence's book on the making of the film. Wood also announces in this issue that he is retiring from the editorial board of CineACTION! but he will continue to write essays 'in my own time and at my own pace.'<br>

# 'The Documentary Films of Citizen Activist Michael Moore: A Man on a Mission, or, How Far a Reinvigorated Populism Ca Take Us,' Garry Watson, pages 3 - 15.<br>
# ' Assessing V for Vendetta,' Tony Williams, pages 16 - 23.<br>
# ' Bearing Witness: The Dardenne Brothers and Michael Haneke's Implication of the Viewer,' Brian Gibson, pages 24 - 38.<br>
# ' Excesses of Millennial Capitalism, Excesses of Violence: Several Critical Fragments Regarding the Cinema of Michael Haneke,' Kevin Wynter, pages 39 - 45.<br>
# 'Le Temps du loup/ Time of the Wolf,' Florence Jacobowiz, pages 46 - 50.<br>
# 'Mourning and Misfortune: 9/11 and the Domestic Terror of Pedophilia,' Dion Tubrett, pages 51 - 58.<br>
# ' Intuitions in Africa: Personal and Political Knowledge in The Constant Gardener,' Edward Gallafent, pages 59 - 65.<br>
# ''What You See is Happening Right Now': Thermageddon and a Search for Tommorow,' Blair Miller, pages 66 - 69.<br>
# 'Good Night, and Good Luck: History Replays Itself,' Richard Lippe, pages 70 - 72.

Sexuality In The Cinema<br>
'The The Silent, Black Centre in the Early Films of Clair Denis,' Katharine Asals<br>
' Fellini's Forgotten Masterpiece: Toby Dammit,' George Porcari<br>
'The Strange Pleasure of The Leopard Man: Gender, Genre, and Authorship in a Val Lewton Thriller,' Scott Preston<br>
'A Tribute to Robin Wood,' Kass Banning, Varda Burstyn, Scott Forsyth, Peter Harcourt, Bruce LaBruce, Bart Testa, Janine Marchessault<br>
Toronto International Film Festival<br>
'Some Tentative Responses to Directors I Value,' Robin Wood<br>
'Master Classes: De Oliveira's Belle Toujours and Von Trotta's I am the Other Woman,' Richard Lippe<br>
'Nue Propriete with Isabelle Huppert,' Florence Jacobowitz<br>
'Golden Door/Nuovomondo,' Susan Morrison<br>
'Cinema,-Cinema' [The 2006 Los Angeles Film Festival, AFI Fest 2006, American Film Market 2006, 55th International Film Festival Mannheim-Heidelberg]. Diane Sippl<br>
'Of Human Bonding: An Interview with Tsai Ming-Liang,' Aysegul Koc<br>
'After This Director's Seventeen Years of Exile: An Interview with Patrick Tam,' Alice Shih<br>
'In Dreams and The Gothic: The Moment of Collapse,' Carole Zucker<br>
'Carolee Schneemann's Fuses as Erotic Self-Portraiture,' Shana MacDonald

'The New Film Studies and the Decline of Critique,' Richard Rushton<br>
'The Horror, Piglet, The Horror: Found Footage, Mashups, The Avant-Garde, and the Strange Case of Apocalypse Pooh,' Scott Mackenzie<br>
'Towards a Theory of Virtual Pornography,' Kevin Wynter<br>
'Saving the Image: Scale and Duration in Contemporary Art Cinema,' Erika Balsom<br>
'Singing Outside the Frame: The Female Voice in Gigi,' Susan Smith<br>
'The Risk of Ambiguity: Reconsidering Zavattini's Film Ethics,' Nicholas Balaisis<br>
'Interview: Joan Chen,' Alice Shih<br>
'Notes on a Radical Tradition: Subversive Ideological Applications in the Hammer Horror Films,' Brian Wilson<br>
'Interview: Charles Mudede,' Allan MacInnis<br>
'Once Upon a Time in America: Sergio Leone and the Construction of Myth,' Peter Babiak<br>
Index of CineAction Issues 56 to 71

Mini-Cinema: A Digital Diary for iPod by Catherine Russell<br>

New Media Resistance: Machinima and the Avant-Garde by Elijah Horwatt<br>

The Reality of Dreams: A presentation of L'Ange et la femme (1977) by Peter Harcourt<br>

The Imagined City: Toward a Theory of Urbanity in Canadian Cinema by George Melnyk<br>

Im just a simple filmmaker: An Interview With Michel Brault by Aysegul Koc<br>

From Big Snow to Big Sadness: The Repatriation of Canadian Cultural dentity in the Films of Guy Maddin by John Semley<br>

Being at Home with Roy Dupuis and Pascale Bussires or, Star-Gazing In and Out of Quebec by Peter Dickinson<br>

Michael Haneke: Beyond Compromise by Robin Wood<br>

Voice and Body : Ahead of the Curve and Scouts Are Cancelled by Darrell Varga<br>


TORONTO INTERNATIONAL FILM FESTIVAL<br>

And Along Come Tourists; The Counterfeiters by Florence Jacobowitz<br>

Les Bons Films: A Girl Cut in Two and Angel by Richard Lippe<br>

Random Thoughts On and Around the Toronto Film Festival by Robin Wood<br>

My Kid Could Paint That by Susan Morrison

The Art House Fim / Jean-Luc Godard / Federico Fellini / Tsai Ming-Liang<br>

The Bones of Reagan by Darrell Varga<br>
Analogical Thinking Organizational Strategies Within The Works of Jean-Luc Godard by Peter Harcourt<br>
The High Solitude of a Rare Bird by Kohei Usuda<br>
Fellini Goes To The Beach by George Porcari<br>
The Romance of Certain Old Clothes by Adam Bingham<br>
I Don't Want To Sleep Alone by Robin Wood<br>
I Heart Hedwig by Conrad Page<br>
The Voice of Marianne Faithful: On Sofia Coppola's Marie Antoinette by Kohei Usuda<br>
A Polite Way of Being Desperate: An Interview with Marjane Satrapi by Jon Davies<br>
The Brave One by Carole Zucker<br>
Movements and Rhythms: On Sam Raimi's Spiderman 3 by Kohei Usuda

International Cinema<br>

The Skull Beneath the Skin: Patrice Chereau and Son Frere by Robin Wood<br>
National Reconciliation and its Performative Limitations:<br>
John Boorman's In My Country and Fanta Regina Nacro's Night of Truth<br>
by Jeremy Maron <br>
Toronto Workers' Art in Global Hollywood by John McCullough <br>
Kiarostami's Life Lessons or how art flourishes where it would suffer, and struggles <br>
where it should thrive by Dan Jones<br>
Paul Newman IN MEMORIAM <br>
TORONTO FILM FESTIVAL 2008<br>
6 Films by Richard Lippe <br>
Un barrage contre le Pacifique/ The Sea Wall by Florence Jacobowitz<br>
TIFF '08 and Liverpool by Susan Morrison<br>
4 Films by Scott Forsyth <br>
UNDERRATED FILMS<br>
Nicholas Ray's King of Kings by Tony Williams<br>
We the Undead: Nadja by George Porcari<br>
Atrocities at the Door: Peter Brook's Tell Me Lies, Images of Terror and Brechtian Aesthetics by Scott MacKenzie<br>
Deciphering Lust, Caution by Alice Shih<br>
On the Road to Renewed Relevance: Jacques Tati's Trafic by Dan Lalande<br>
The Art of Persuasion Or: Have you seen this man's Films Lately? by Daniel Stefik

Documentary & Superheroes<br>

Documentary<br>

Evita in Wonderland
Pulqui and the Workshop of Underdevelopment
Tomas F. Crowder-Taraborrelli<br>

Sounds like Canada
A Reexamination of the Development of
Canadian Cinema Verite
Michael Longfield<br>

The War on Film
Reanimating the Post-9/11 Viewer in
The Prisoner, Or: How I Planned To Kill Tony Blair
Brian Gibson<br>

The Dialogical Documentary
Jennifer Fox on Finding a New Film Language in Flying: Confessions of a Free Woman (2007)
Angelica Fenner<br>

Secret Identities
The Superhero Simulacrum and the Nation Matt Yockey
Superheroes<br>

Convergence Culture and the Caped Crusader
Batman and the Environment of New Media
Dru H. Jeffries<br>

On the Obama-ization of Will Smith
Edward D. Bacal<br>

Lost in Translation
On Frank Miller's The Spirit
Brian Wilson<br>

"Tone down the Boobs Please"
Reading the Special Effect Body
in Superhero Movies
Sabine LeBel<br>

Of Depth and Surfaces
Notes on Watchmen and Other (non)Reflections on Phenomenological Film Experience
Kevin Wynter

Coming to terms with the Slumdog Phenomenon<br>
Eli Roth's Hostel & Hostel II<br>
Transsexualism as Cinematic Metaphor<br>
PLUS: Second City, Guy Maddin... and more!

Collaboration &amp; French New Wave: 50 Years
<br>French New Wave: 50 Years by Florence Jacobowitz and Richard Lippe.

<br>Elia Kazan 1909-2009 A Man in Conflict by Richard Lippe
<br>The Second Wave<br>
Collaboration and the <em>Nouvelle Vague</em> by Adam Bingham
<br><em>Vive l'Amour</em> by Robin Wood.

<br>Contraband: Powell, Pressburger, Veidt, Hobson, Junge and Others<br>
by Tony Williams
<br>Collaborating Agent: Charles Feldman and Clients by Tom Kemper
<br>Body and Soul<br>
John Garfield, Abraham Polonsky and the American Jewish Family<br>
by Stuart Hands

<br>The Biggest Film Biographer in the World<br>
The Films of Ken Russell for the BBC by George Porcari
<br>Cannes Film Festival 2009 by Robert K. Lightning
<br>Trace and Travesty<br>
How <em>The Columbus of Sex</em> Became <em>My Secret Life</em> by Stephen Boomer

<br>Textures of Collaboration<br>
Pop Music Culture and the Experimental Films of Abigail Child and Bill Morrison<br>
by Carolyn Elerding

Genre and Global Cinema<p>

GENRE<br>
Shocked and Awed?<br>
Hostel and the Spectacle of Self-Mutilation<br>
by Gregory A. Burris<br>

Genre Matters<br>
Film Criticism and the Social Relevance of Genres<br>
by Juan A. Tarancon<br>

Whos Bleeding Whom?<br>
Analyzing the Cultural Flows of
Blaxploitation Cinema, Then and Now<br>
By John Semley<br>

Telling the (Wrong) Story<br>
The Disintegration of Transcultural
Communication and Narrative in The Fall<br>
by E. Charlotte Stevens<br>

Where Do We Go From Here?<br>
Confronting Contingency with Gerry<br>
by Lee Knuttila<br>

TORONTO INTERNATIONAL FILM FESTIVAL<br>
White Material<br>
A Film by Claire Denis <br>
by Florence Jacobowitz<br>

European Melodramas<br>
The Refuge and I Am Love<br>
by RICHARD LIPPE<br>

What Does a Woman Want?<br>
Io sono lamore/I Am Love and Cairo Time<br>
by Susan Morrison<br>


A TRIBUTE<br>
Jennifer Jones and Jean Simmons<br>
by RICHARD LIPPE<br>


GLOBAL CINEMA<br>
City Spaces and National Identity<br>
by Katrina Sark<br>

The Language of Emotion
in Godard's Films<br>
by Anuja Madan<br>

Neither Hand, Nor Foot, Nor Kidney<br>
Biopower, Body Parts and Human Flows
in Stephen Frear's Dirty Pretty Things<br>
by Larissa Lai

War Films: The Hurt Locker; In the Valley of Elah; The Thin Red Line; Female Directors: Nancy Meyers; Vera Chytilova; Japanese Directors and Much More!!!

LONG FORM DRAMA</p>
<p>The International Language of Espionage:</p>
<p>Melodrama, The Americans, and the Global&nbsp;Television Imaginary –&nbsp;by Meredith Slifkin</p>
<p>Mad Men, the Historical Novel, and Social Change&nbsp;–&nbsp;by William Bartley</p>
<p>Long Form Televisual Narrative and Operatic Structure in Bryan Fuller’s Hannibal –&nbsp;by Maria Ionita</p>
<p>Rehabilitating Imperial Glory: Or Rome Finishes What Gladiator Started –&nbsp;by Malcolm Morton</p>
<p>Working Toward a Television Canon –&nbsp;by Thomas A. Foster</p>
<p>Are Sitcoms the Future of West African Cinema? –&nbsp;by Boukary Sawadogo</p>
<p>Read It Today, See It Tonight: Extratextuality and the Silent Film