Table Of ContentINDEX TO CINEASTE, VOL. XIX
Compiled by Susan Ohmer
Index Key: First number is volume number; 12-14 Address to the National Press Club,” 19:1,
second number is number of issue; third and Horton, Andrew: “I Don't Want To Kill Any- 23-24
subsequent numbers are page numbers. Arti- body: The Moving Image in the Post- “Through the Looking Glass: A Critical
cles are arranged alphabetically by author;
interviews are arranged alphabetically by Yugoslav Republics,” 19.4, 54-57 Overview of Oliver Stone's JFK,” 19:1, 8-22
interviewee; film reviews are arranged alpha- Jones, Jacquie: “Spike Lee Presents Mal- Vogel, Amos: “Subversive Film Festival,”
betically by film title; and book reviews are colm X: The New Black Nationalism,” 19.4, 19.4, 89-91
arranged alphabetically by book author's 9-11 Worthy, Kim: “Hearts of Darkness: Making
name.
Kornatowska, Maria: “Polish Cinema,” 19.4, Art, Making History, Making Money, Mak-
ARTICLES 47-50 ing “Vietnam,”” 19.2-3, 24-27
Backstein, Karen: “The Cinematic Jazz of Lester, Julius: “Black Supremacy and Anti-
Julie Dash,” 19.4, 88 Semitism: Religion in Malcolm X,” 19.4, 16- INTERVIEWS
Bondanella, Peter: “Amarcord: Fellini & Poli- 17 Altman, Robert: “The Player,” by Janice
tics,” 19:1, 36-43 & 32 Liebman, Stuart: “Homevideo: Dusan Richolson, 19.2-3, 61
Boyd, Herb: “Malcolm After Mecca: Pan- Makavejev,” 19:1, 68-70 Angelopoulos, Theodoros: “National Cul-
Africanism and the OAAU,” 19.4, 11-12 Liebman, Stuart: “Homevideo: Soviet Silent ture and Individual Vision,” by Andrew
Boyd, Todd: “Popular Culture and Political Film Classics,” 19.2-3, 74-78 Horton, with an introduction by Dan Geor-
Empowerment: The Americanization and Liehm, Antonin J.: “Czech and Slovak Cine- gakas, 19.2-3, 28-31
Death of Malcolm X,” 19.4, 12-13 ma,” 19.4, 62 Babenco, Hector: “At Play in the Fields of
“By Any Means Necessary: A Symposium Locke, John: “Adapting the Autobiography. the Lord,” by Neil Okrent, 19:1, 44-47
on Malcolm X,” 19.4, 4-18 The Transformation of Malcolm X,” 19.4, 5- Berlinger, Joe and Bruce Sinofsky: “Re-
“Cinemas in Transition: A Special Section 7 defining the Esthetics of the Documen-
on the Cinemas of Eastern & Central Lucia, Cynthia: “Women on Trial: The tary,” by Cynthia Lucia and Richard Porton,
Europe,” 19.4, 41-64 Female Lawyer in the Hollywood Court- 19.4, 82-85
Cornell, Katharine F: “After the Wall: Eastern room,” 19.2-3, 32-37 Borden, Lizzie: “Redefining Female Sexual-
European Cinema Since 1989,” 19.4, 43-46 Marable, Manning: “Malcolm as Messiah: ity in the Cinema,” by Cynthia Lucia, 19:2-
Crowdus, Gary: “Homevideo: Stanley Cultural Myth vs. Historical Reality in Mal- 3, 6-10
Kubrick’s Spartacus and Dr. Strangelove,” colm X,” 19.4, 7-9 Davies, Terence: “The Long Day Closes,”
19.4, 97-98 Menashe, Louis: “New Soviet Documen- by Wheeler Winston Dixon, 19:2-3, 20-23
Custen, George: “Night and Day: Cole taries,” 19.2-3, 80-81 Gray, Spalding: “The Art of Autobiogra-
Porter, Warner Bros., and the Re-Creation Petras, James: “The Discrediting of the phy,” by Dan Georgakas and Richard Por-
of a Life,” 19.2-3, 42-44 Fifth Estate: The Press Attacks on JFK,” ton, 19.4, 34-37
Dowell, Pat: “Last Year at Nuremberg: The 19:1, 15-17 Hartley, Hal: “Rise of an Indie,” by John
Cinematic Strategies of JFK,” 19:1, 8-11 Phillips, Julie: “Growing Up Black and Fried, 19.4, 38-40
Evica, George Michael: “Deconstructing the Female: Leslie Harris's Just Another Girl on Hoberman, J.: “A Vulgar Modernist,” by
DA: The Garrison Image in JFK,” 19:1, 17- the IRT,” 19.4, 86-87 Mariam Niroumand, 19:1, 53-55
19 Porton, Richard: “A Second Look: The Hubbard, Jim: “Encouraging the Experi-
Georgakas, Dan: “Black Athena: Aryans, Wages of Fear,” 19.1, 61-62 mental,” by Roy Grundmann, 19:1, 51
Semites, Egyptians and Hellenes,” 19.2-3, Quart, Barbara: “A Few Short Takes on Kiarostami, Abbas: “The Camera of Art,”
55-56 Eastern European Film,” 19.4, 63-64 by Miriam Rosen, 19.2-3, 38-40
Georgakas, Dan: “The ‘Threat’ of the New Quart, Barbara: “The Short Films of Jane Lee, Spike: “Our Film Is Only a Starting
Frontier: The Kennedy Image in JFK,” 19:1, Campion,” 19.1, 72 & 62 Point,” by Gary Crowdus and Dan Geor-
19-20 Quart, Barbara: “Three Central European gakas, 19.4, 20-24
Georgakas, Dan: “Who Will Speak for El- Women Directors Revisited,” 19.4, 58-61 Lunger, Jeff: “The New Festival,” by Roy
Hajj Malik El-Shabazz?: Hagiography and a Quart, Leonard: “Woody Allen’s New York,” Grundmann, 19:1, 52
Missing Identity in Malcolm X,” 19.4, 15-16 19.2-3, 16-19 Revueltas, Rosaura: “This Film Is Going to
Grundmann, Roy: “The Fantasies We Live Quart, Leonard: “Yiddish Cinema on Home Make History,” by Esteve Riambau and
By: Bad Boys in Swoon & The Living End,” Video,” 19:1, 70-72 Casimiro Torreiro, 19.2-3, 50-51
19.4, 25-29 Rhines, Jesse: “Spike Lee, Malcolm X, and Riggs, Marlon: “New Agendas in Black
Grundmann, Roy: “Politics, Esthetics, Sex: The Money Game: The Compromises of Filmmaking,” by Roy Grundmann, 19.2-3,
Queer Films and Their Festivals,” 19:1, 50- Crossover Marketing,” 19.4, 17-18 52-54
52 & 62 Sato, Tadao: “The Spirit of Compassion: Rusconi, Jane: “Striving for Authenticity,”
Grundmann, Roy and Cynthia Lucia: “Gays, Kurosawa's Rhapsody in August,” trans. by Gary Crowdus, 19:1, 33-34
Women and an Abstinent Hero: The Sexual Linda Ehrlich, 19:1, 48-49 Sklar, Zachary: “Getting the Facts
Politics of JFK,” 19:1, 20-22 Sharrett, Christopher: “Debunking the Offi- Straight,” by Gary Crowdus, 19:1, 28-32
Haas, Scott: “The Marx Brothers, Jews, & cial History: The Conspiracy Theory in Stone, Oliver: “Clarifying the Conspiracy,”
My Four-Year-Old Daughter,” 19.2-3, 49 JFK,” 19:1, 11-14 by Gary Crowdus, 19:1, 25-27
Heifetz, Hank: “Mixed Music: In Memory of Simon, Art: “The Making of Alert Viewers: Treut, Monika: “Coming to America,” by
Satyajit Ray,” 19.4, 72-73 The Mixing of Fact and Fiction in JFK,” Steve Fox, 19:1, 63-64
Hooks, Bell: “Male Heroes and Female Sex 19:1, 14-15 Truffaut, Francois: “Reminiscing About
Objects: Sexism in Spike Lee's Malcolm Stam, Robert: “Rewriting 1492: Cinema and Shoot the Piano Player,” by Helene
X,” 19.4, 13-15 the Columbus Debate,” 19.4, 66-71 Laroche Davis, 19.4, 30-33
Horton, Andrew: “The ‘How to Write the Stern, Gary M. “Why the Dearth of Latino Wajda, Andrzej: “The Man Who Put Poland
Best Ever Screenplay’ Book Biz,” 19:2-3, Directors?” 19.2-3, 45-47 On the Postwar Map of Cinema,” by Pat
Stone, Oliver: “Who Defines History? Dowell, 19.4, 51-53
62 CINEASTE
INDEX TO CINEASTE, VOL. XIX
Compiled by Susan Ohmer
Index Key: First number is volume number; 12-14 Address to the National Press Club,” 19:1,
second number is number of issue; third and Horton, Andrew: “I Don't Want To Kill Any- 23-24
subsequent numbers are page numbers. Arti- body: The Moving Image in the Post- “Through the Looking Glass: A Critical
cles are arranged alphabetically by author;
interviews are arranged alphabetically by Yugoslav Republics,” 19.4, 54-57 Overview of Oliver Stone's JFK,” 19:1, 8-22
interviewee; film reviews are arranged alpha- Jones, Jacquie: “Spike Lee Presents Mal- Vogel, Amos: “Subversive Film Festival,”
betically by film title; and book reviews are colm X: The New Black Nationalism,” 19.4, 19.4, 89-91
arranged alphabetically by book author's 9-11 Worthy, Kim: “Hearts of Darkness: Making
name.
Kornatowska, Maria: “Polish Cinema,” 19.4, Art, Making History, Making Money, Mak-
ARTICLES 47-50 ing “Vietnam,”” 19.2-3, 24-27
Backstein, Karen: “The Cinematic Jazz of Lester, Julius: “Black Supremacy and Anti-
Julie Dash,” 19.4, 88 Semitism: Religion in Malcolm X,” 19.4, 16- INTERVIEWS
Bondanella, Peter: “Amarcord: Fellini & Poli- 17 Altman, Robert: “The Player,” by Janice
tics,” 19:1, 36-43 & 32 Liebman, Stuart: “Homevideo: Dusan Richolson, 19.2-3, 61
Boyd, Herb: “Malcolm After Mecca: Pan- Makavejev,” 19:1, 68-70 Angelopoulos, Theodoros: “National Cul-
Africanism and the OAAU,” 19.4, 11-12 Liebman, Stuart: “Homevideo: Soviet Silent ture and Individual Vision,” by Andrew
Boyd, Todd: “Popular Culture and Political Film Classics,” 19.2-3, 74-78 Horton, with an introduction by Dan Geor-
Empowerment: The Americanization and Liehm, Antonin J.: “Czech and Slovak Cine- gakas, 19.2-3, 28-31
Death of Malcolm X,” 19.4, 12-13 ma,” 19.4, 62 Babenco, Hector: “At Play in the Fields of
“By Any Means Necessary: A Symposium Locke, John: “Adapting the Autobiography. the Lord,” by Neil Okrent, 19:1, 44-47
on Malcolm X,” 19.4, 4-18 The Transformation of Malcolm X,” 19.4, 5- Berlinger, Joe and Bruce Sinofsky: “Re-
“Cinemas in Transition: A Special Section 7 defining the Esthetics of the Documen-
on the Cinemas of Eastern & Central Lucia, Cynthia: “Women on Trial: The tary,” by Cynthia Lucia and Richard Porton,
Europe,” 19.4, 41-64 Female Lawyer in the Hollywood Court- 19.4, 82-85
Cornell, Katharine F: “After the Wall: Eastern room,” 19.2-3, 32-37 Borden, Lizzie: “Redefining Female Sexual-
European Cinema Since 1989,” 19.4, 43-46 Marable, Manning: “Malcolm as Messiah: ity in the Cinema,” by Cynthia Lucia, 19:2-
Crowdus, Gary: “Homevideo: Stanley Cultural Myth vs. Historical Reality in Mal- 3, 6-10
Kubrick’s Spartacus and Dr. Strangelove,” colm X,” 19.4, 7-9 Davies, Terence: “The Long Day Closes,”
19.4, 97-98 Menashe, Louis: “New Soviet Documen- by Wheeler Winston Dixon, 19:2-3, 20-23
Custen, George: “Night and Day: Cole taries,” 19.2-3, 80-81 Gray, Spalding: “The Art of Autobiogra-
Porter, Warner Bros., and the Re-Creation Petras, James: “The Discrediting of the phy,” by Dan Georgakas and Richard Por-
of a Life,” 19.2-3, 42-44 Fifth Estate: The Press Attacks on JFK,” ton, 19.4, 34-37
Dowell, Pat: “Last Year at Nuremberg: The 19:1, 15-17 Hartley, Hal: “Rise of an Indie,” by John
Cinematic Strategies of JFK,” 19:1, 8-11 Phillips, Julie: “Growing Up Black and Fried, 19.4, 38-40
Evica, George Michael: “Deconstructing the Female: Leslie Harris's Just Another Girl on Hoberman, J.: “A Vulgar Modernist,” by
DA: The Garrison Image in JFK,” 19:1, 17- the IRT,” 19.4, 86-87 Mariam Niroumand, 19:1, 53-55
19 Porton, Richard: “A Second Look: The Hubbard, Jim: “Encouraging the Experi-
Georgakas, Dan: “Black Athena: Aryans, Wages of Fear,” 19.1, 61-62 mental,” by Roy Grundmann, 19:1, 51
Semites, Egyptians and Hellenes,” 19.2-3, Quart, Barbara: “A Few Short Takes on Kiarostami, Abbas: “The Camera of Art,”
55-56 Eastern European Film,” 19.4, 63-64 by Miriam Rosen, 19.2-3, 38-40
Georgakas, Dan: “The ‘Threat’ of the New Quart, Barbara: “The Short Films of Jane Lee, Spike: “Our Film Is Only a Starting
Frontier: The Kennedy Image in JFK,” 19:1, Campion,” 19.1, 72 & 62 Point,” by Gary Crowdus and Dan Geor-
19-20 Quart, Barbara: “Three Central European gakas, 19.4, 20-24
Georgakas, Dan: “Who Will Speak for El- Women Directors Revisited,” 19.4, 58-61 Lunger, Jeff: “The New Festival,” by Roy
Hajj Malik El-Shabazz?: Hagiography and a Quart, Leonard: “Woody Allen’s New York,” Grundmann, 19:1, 52
Missing Identity in Malcolm X,” 19.4, 15-16 19.2-3, 16-19 Revueltas, Rosaura: “This Film Is Going to
Grundmann, Roy: “The Fantasies We Live Quart, Leonard: “Yiddish Cinema on Home Make History,” by Esteve Riambau and
By: Bad Boys in Swoon & The Living End,” Video,” 19:1, 70-72 Casimiro Torreiro, 19.2-3, 50-51
19.4, 25-29 Rhines, Jesse: “Spike Lee, Malcolm X, and Riggs, Marlon: “New Agendas in Black
Grundmann, Roy: “Politics, Esthetics, Sex: The Money Game: The Compromises of Filmmaking,” by Roy Grundmann, 19.2-3,
Queer Films and Their Festivals,” 19:1, 50- Crossover Marketing,” 19.4, 17-18 52-54
52 & 62 Sato, Tadao: “The Spirit of Compassion: Rusconi, Jane: “Striving for Authenticity,”
Grundmann, Roy and Cynthia Lucia: “Gays, Kurosawa's Rhapsody in August,” trans. by Gary Crowdus, 19:1, 33-34
Women and an Abstinent Hero: The Sexual Linda Ehrlich, 19:1, 48-49 Sklar, Zachary: “Getting the Facts
Politics of JFK,” 19:1, 20-22 Sharrett, Christopher: “Debunking the Offi- Straight,” by Gary Crowdus, 19:1, 28-32
Haas, Scott: “The Marx Brothers, Jews, & cial History: The Conspiracy Theory in Stone, Oliver: “Clarifying the Conspiracy,”
My Four-Year-Old Daughter,” 19.2-3, 49 JFK,” 19:1, 11-14 by Gary Crowdus, 19:1, 25-27
Heifetz, Hank: “Mixed Music: In Memory of Simon, Art: “The Making of Alert Viewers: Treut, Monika: “Coming to America,” by
Satyajit Ray,” 19.4, 72-73 The Mixing of Fact and Fiction in JFK,” Steve Fox, 19:1, 63-64
Hooks, Bell: “Male Heroes and Female Sex 19:1, 14-15 Truffaut, Francois: “Reminiscing About
Objects: Sexism in Spike Lee's Malcolm Stam, Robert: “Rewriting 1492: Cinema and Shoot the Piano Player,” by Helene
X,” 19.4, 13-15 the Columbus Debate,” 19.4, 66-71 Laroche Davis, 19.4, 30-33
Horton, Andrew: “The ‘How to Write the Stern, Gary M. “Why the Dearth of Latino Wajda, Andrzej: “The Man Who Put Poland
Best Ever Screenplay’ Book Biz,” 19:2-3, Directors?” 19.2-3, 45-47 On the Postwar Map of Cinema,” by Pat
Stone, Oliver: “Who Defines History? Dowell, 19.4, 51-53
62 CINEASTE
FILM & VIDEO REVIEWS Braudy, Leo, Native Informant: Essays on FILM REVIEWS (contd.)
Adam's Rib, Louis Menashe, 19.2-3, 67-68 Film, Fiction and Popular Culture, Christo- flux of urban life (and a cheating pedicab
The Akhmatova File, Louis Menashe, 19.2- pher Sharrett, 19:1, 76-77 driver), she encounters an unflaggingly
3, 80-81 Brownlow, Kevin, Behind the Mask of Inno- helpful bureaucracy, including the director
Aliens, Dragons, Monsters and Me, Gary cence, Anthony Slide, 19:1, 75-76 of the city PSB, who appears as if out of a
Crowdus, 19.4, 101 Dittmar, Linda and Gene Michaud, From socialist utopia to provide Qiu Ju with rides
Beyond JFK, Christopher Sharrett, 19.4, 98- Hanoi to Hollywood: The Vietnam War in and meals (a certain slippage also appears
99 American Film, Marilyn B. Young, 19.2-3, 85- here when the English subtitles change the
Black Athena, Dan Georgakas, 19.2-3, 55-56 86 name Public Security Bureau to Public Ser-
Bob Roberts, Robert Sklar, 19.4, 77-79 Doherty, Thomas, Teenagers and Teenpics: vice Bureau). Qiu Ju’s implacable quest is
Chaplin, Thomas Doherty, 19.4, 75-77 The Juvenilization of American Movies in also leavened by her companion, sister-in-
Chicano Park, Susan Ryan, 19:1, 66 the 1950s, Kent Greene, 19.2-3, 90 law Meizi, portrayed by a nonprofessional;
Children of Paradise, Morty Schiff, 19.2-3, Grover, Ron, The Disney Touch: How a Dar- in one scene, while Qiu Ju’s lawyer is
82 ing Management Team Revived an Enter- explaining the legal system over a take-out
Daughters of the Dust, Jacquie Jones, tainment Empire, Douglas Gomery, 19:1, 76 lunch, the sister is baffled not so much by
19.2-3, 68-69 Hoberman, J., Bridge of Light, Richard Por- the law as by a can of Sprite cola she studies,
turns, and spills, before figuring out how to
Deadly Deception, Gordon Hitchens, 19:1, ton, 19:1, 77
drink from it.
67 Jones, G. William, Black Cinema Treasures:
Inevitably, Qiu Ju’s efforts begin to back-
The Double Life of Veronique, Peter Rup- Lost and Found, Wheeler Winston Dixon,
fire. Her husband, recovering, grows cross
pert, 19.2-3, 63-65 19.2-3, 89
over the neighbors’ gossip and the implied
Ends and Means, Richard Gid Powers, 19.2- Kendrick, Walter, The Thrill of Fear: 250
challenge to his patriarchal authority. The
3, 81 Years of Scary Entertainment, David
state’s investigation takes on al ife of its
Funny Ladies, Cynthia Lucia, 19:1, 66-67 Bartholomew, 19.2-3, 86-87
own, out of her control. Her pregnancy
Green Fields, Leonard Quart, 19:1, 72 McBride, Joseph, Frank Capra: The Cata-
suddenly goes badly, and late at night Wan
The Hand that Rocks the Cradle, Elayne strophe of Success, Leonard Quart, 19.4, 96
Qinglai must seek the help of the Chief, who
Rapping, 19.2-3, 65-66 McGilligan, Patrick, George Cukor: A Dou-
responds, “You remember me when there’s
Hoffa, Paul Arthur, 19.4, 81 ble Life, George F. Custen, 19.4, 92-93
trouble.” But Wang gets out of bed and
Homicide, Leonard Quart, 19:1, 56-57 Medved, Michael, Hollywood vs. America:
organizes a squad of men to carry Qiu Ju on
Howards End, Peter Bates, 19.2-3, 69-70 Popular Culture and the War on Traditional a stretcher across the countryside to a hos-
Husbands and Wives, Barbara and Leonard Values, Tom Doherty, 19.4, 94-95 pital, where her life is saved and her baby—
Quart, 19.4, 74-75 Noriega, Chon, Chicanos and Film: Essays a boy—is born.
| Was Stalin's Bodyguard, Louis Menashe, on Chicano Representation and Resistance, Qiu Ju now wants to bury the hatchet
19.2-3, 80-81 Ann M. Stock, 19.2-3, 90 with Wang Shantang. The state, however,
JFK: The Director's Cut, Christopher Shar- O'Donnell, Pierce and Dennis McDougal, has insisted on X-raying her husband, and
rett, 19.4, 98-99 Fatal Subtraction: The Inside Story of Buch- discovers that a rib had been broken
Jungle Fever, Leonard Quart, 19.4, 99 wald v. Paramount, Douglas Gomery, 19.4, through the Chief's kicks. It has become a
Just Another Girl on the IRT, Julie Phillips, 95 criminal matter. While the Wan family cele-
19.4, 86-87 Phillips, Julia, You'll Never Eat Lunch in brates its new child with a feast, a police
Kamala and Raji, Hank Heifetz, 19.2-3, 59 This Town Again, Leonard Quart, 19.2-3, 90- siren sounds across the farming valley—an
LBJ, Michael Greenberg and Barbara Weill, 91 ominous signifier ofa part of the state appa-
19.4, 100-101 Rowe, John Carlos and Rick Berg, The Viet- ratus the film leaves invisible. Qiu Ju, now
Letter to the Next Generation, Paul Buhle, nam War and American Culture, Marilyn B. more recognizably the glamorous Gong Li,
19:1, 65-66 Young, 19.2-3, 85-86 in an orange cap with a bright flowery jack-
Life ls Sweet, Peter Bates, 19:1, 57-58 Salamon, Julie, The Devil's Candy: Bonfire et, rushes from the party out on the road
Mapantsula, Keyan Tomaselli, 19.2-3, 57-58 of the Vanities Goes to Hollywood, Tom toward Wang’s. Qiu Ju is physically more
Mississippi Masala, Cecelie S. Berry, 19.2-3, Doherty, 19.2-3, 84-85 mobile than we have ever seen her before,
66-67 Sklar, Robert, City Boys: Cagney, Bogart, but the film freezes her motion in its final
November Days, Richard Porton, 19.2-3, 70- Garfield, Patrick McGilligan, 19.2-3, 87-88 shot, showing her face in close-up—hatless,
oN Slater, Thomas J. Handbook of Soviet and beautiful, clearly troubled.
The Player, Leonard and Alissa Quart, 19.2- East European Films and Filmmakers, Louis Zhang Yimou has been well contented to
3, 60 & 62 Menashe, 19.2-3, 89-90 accept the views of American and European
Reservoir Dogs, Robert Hilferty, 19.4, 79-81 Spoto, Donald, Laurence Olivier: A Biogra- reviewers that The Story of Qiu Ju is ‘univer-
Seven Samurai, Gary Crowdus, 19.4, 99- phy, Gary Vena, 19.2-3, 89 sal’ and ‘timeless’ in its depiction of human
104 Stone, Oliver and Zachary Sklar, JFK: The nature. It may be all of that, but it is also
particular to a time and a place and espe-
Tevye, Leonard Quart, 19:1, 72 Book of the Film, Christopher Sharrett, 19.2-
cially to a select audience: China’s bureau-
Uncle Moses, Leonard Quart, 19:1, 70-72 3, 88
crats. From all accounts, it has pleased them
Unforgiven, Pat Dowell, 19.2-3, 72-73 Vidal, Gore, Screening History, Jonathan
also, and why not, with its portrait of a
Unknown Secrets, Gerald Meyer, 19.2-3, 58 Rosenbaum, 19.4, 95-96
bureaucracy that is accountable when it errs
Uranus, Joan M. West, 19:1, 58-60 Welles, Orson and Peter Bogdanovich; ed.
and grows more generous and benign at
Women Who Made the Movies, Cynthia Jonathan Rosenbaum, This Is Orson
each rung up the ladder. For spectators who
Lucia, 19.2-3, 81-82 Welles, James Naremore, 19.4, 93-94
are neither Chinese nor bureaucrats, and,
Yidl with a Fiddle, Leonard Quart, 19:1, 72 Williams, John A. and Dennis A., If 1 Stop
unlike most film reviewers, unsure about
Zentropa, Janice Mosier Richolson, 19.2-3, I'll Die: The Comedy and Tragedy of
the universality and timelessness of human
62-63 Richard Prior, James V. Hatch, 19:1, 74
nature, The Story of Qiu Ju is a hearty
Yule, Andrew, Losing the Light: Terry
BOOK REVIEWS though slightly withholding embrace of
Gilliam and the Munchhausen Saga, Tom
Anderegg, Michael, Inventing Vietnam: The quotidian China, initiated by its director for
Doherty, 19.2-3, 84-85
War in Film and Television, Marilyn B. complex reasons, that outsiders are invited
Young, 19.2-3, 85-86 to share.—Robert Sklar
CINEASTE 63
