Argues that visits by independent filmmakers to campus are exciting and intellectually invigorating for students and teachers, and these visits add to the cultural energy of the college. Notes that a commitment to independent cinema challenges the assumptions and the economics of conventional cinema. Discusses how much independent filmmakers are…

Lists articles printed in English and, generally, those published since 1973. Includes writings on and by filmmakers, writings often more descriptive than analytical, stressing individual contributions over ideas, trends, overall themes, and ideological or philosophical issues. (PD)

Argues that the filmwork of Alfred Hitchcock shows his manipulation of melodramatic silence in that his films demonstrate a link between silence and truth. Concludes that in the simultaneous longing for and denial of the power of film silence lies the modernist complexity of Hitchcock's films that suggests the uses of melodramatic language in a…

Presents a bibliography of works about filmic art and filmic artists that is highly selective in representing such eclectic approaches as rhetorical, literary, cross-media, formal, semiotic, economic, social, psychological, historical, political, philosophical, cultural, stylistic, auteurist, genre, mythic, and ideological. (JK)

Discusses Jim Klein's motivation and inspiration for the making of the film "Letter to the Next Generation." Chronicles the technical work needed to create and finish the film inside of a tight deadline. Describes the film shooting conditions at Kent State and the editing process used to make the final cut of the movie. (PA)

Addresses the career of Ed Pincus, a documentary filmmaker who began making films in the mid-1960s, headed the MIT Film/Video Section in the 1970s, and authored two books on film production. Examines the changes that occurred in the late 1960s in Pincus's documentary theory and practice. (PA)

Analyzes the split between teaching film study and teaching film making. (CH)

A humanistic assessment of the "structured" films of the New American Cinema. (CH)

Muses on the reasons for a "director's cut" of the 1969 Soviet film "The Color of Pomegranates," produced after the official version had initially been heavily reedited. Offers historical background on the film. States that it places unusual demands on its audiences, especially because of its density of texture and its…

Surveys and critiques existing approaches to the study and teaching of the art of films. (CH)

This book is divided into twelve sections and contains photographs from many of the films discussed. The introduction defines film genre and describes the general theories behind this book; "The Individual Film" analyzes the film "Little Caesar" as it relates to the genre of gangster films; "Comparative Forms"…

Discusses the renaissance of Australian film, analyzes films of several Australian directors, and comments on the differences in Australian and American national characteristics and viewpoints. (PD)

Analyzes David O. Selznick's marketing campaign for the film "Since You Went Away," focusing on the promotion of the book from which the movie was adapted, and on the production of the film's souvenir program. Examines Selznick's image as author from both the auteurist and cine-structuralist perspectives. (MM)

Uses a case study of V. Pudovkin's film, "Return of Vasilii Bortnikov" (1953), to (1) address the possible influence of Hollywood-style continuity on the basic film technique of Soviet Socialist Realism; and (2) account for how the American model may have been modified as it was adapted to the Soviet situation. (PA)

This paper describes how director Spike Lee changed Hollywood's representations of African Americans in a dramatic way. He returned to traditions of early African American filmakers like Oscar Michaux by casting all-black movies. In his first film, "She's Gotta Have It", he broke with the Hollywood tradition of using a classic beauty…