Contributors

Francisca Cho is associate professor of Buddhist studies at Georgetown University. Her book, Embracing Illusion: Truth and Fiction in the Dream of the Nine Clouds (Albany, NY: SUNY Press, 1996) examines the expression of Buddhist philosophy in a seventeenth-century Korean classic novel. Recent publications include ‘‘Leaping into the Boundless: A Daoist Reading of Comparative Religious Ethics,’’ in the Journal of Religious Ethics, and ‘‘The Buddhist Theory of Social Action,’’ in Ideal in the World’s Religions. Her recent research and publications focus on Buddhist aesthet- ics as expressed through East Asian literature and film.

Linda C. Ehrlich is associate professor of Japanese, comparative literature, and cinema at Case Western Reserve University, and has published arti- cles on world cinema in Film Quarterly, Cinema Journal, Literature/ Film Quarterly, Film Criticism, Cinemaya, Journal of Film and Video, Ethnomusicology, and Journal of Religion and Film, among others. She has coedited (with David Desser) Cinematic Landscapes: Observations on the Visual Arts and Cinema of China and Japan (University of Texas Press, 1994; 2d. ed., 2000). Her second book, An Open Window: The Cinema of Víctor Erice, appeared in the Scarecrow Press Filmmakers Series in 2000. She is currently finishing an anthology of essays on sculptural images in the cinema entitled A Particular Slant of Light.

Kris Jozajtis completed his Ph.D. on religion and film in American culture at the University of Stirling in 2001. Since that time he has taught at Stirling in the departments of religious studies and film and media studies. His work on the use of media in religious education in schools prompted worldwide interest, and he is currently writing a book based on his doctoral disserta- tion. He is also developing a career in radio, as a producer and presenter of his own show for Heartland FM. He lives in Stirling with his partner and four children.

Philip Lutgendorf has taught in the University of Iowa’s Department of Asian Languages and Literature since 1985. He regularly offers Hindi language classes as well as courses on written and oral narrative traditions of South Asia, including Indian film. His book on the performance of the epic Ramayana, The Life of a Text (Berkeley: University of California Press, 1991) won the A. K. Coomaraswamy Prize of the Association for 264 CONTRIBUTORS

Asian Studies. He received a Guggenheim Fellowship in 2002–03 for his book project on the popular ‘‘monkey-god’’ Hanuman, which he has also treated in several articles.

Birgit Meyer is a senior lecturer at the Research Centre Religion and Society (Department of Anthropology, University of Amsterdam). Her publica- tions include Translating the Devil: Religion and Modernity Among the Ewe in Ghana (Edinburgh: Edinburgh University Press, 1999) and Globalization and Identity: Dialectics of Flow and Closure (edited with Peter Geschiere, Oxford: Blackwell, 1999). In April 2000 she was awarded a PIONIER grant from the Netherlands Foundation for Scientific Research for a comparative research program on modern mass media, religion, and the postcolonial state in West Africa, India, Brazil, and the Caribbean.

Paul Nathanson does research at the Faculty of Religious Studies, McGill University. Nathanson’s interest in the frontier between religion and secularity, along with coming of age, led to his first book: Over the Rainbow: The Wizard of Oz as a Secular Myth of America (Albany, NY: SUNY Press, 1991). He has published numerous journal articles on popular culture and religion, including ‘‘Coming of Age in the Movies: Myth and Manhood in Rebel without a Cause’’ in Gender in World Religions, and ‘‘You Can’t Go Home Again, or Can You? Reflections on the Symbolism of TV Families at Christmastime’’ in Journal of Popular Culture. He has collaborated with Katherine K. Young on several research projects, includ- ing Spreading Misandry: The Teaching of Contempt for Men in Popular Culture (Montreal: McGill-Queen’s University Press, 2001). Their most recent project is on the moral, philosophical, and other implications of current demands for the legalization of gay marriage.

S. Brent Plate is assistant professor of religion and the visual arts at Texas Christian University, where he teaches the courses ‘‘Myth and Ritual on Film’’ and ‘‘Religion and Visual Culture.’’ Recent publications include the edited volumes, Religion, Art, and Visual Culture (Palgrave, 2002) and Imag(in)ing Otherness: Filmic Visions of Living Together, coedited with David Jasper (Atlanta and Oxford: American Academy of Religion/Oxford University Press, 1999), as well as the journal articles ‘‘Looking at the Body of Death,’’ in Soundings; and ‘‘The Re-creation of the World: Filming Faith,’’ in Dialog. He is currently preparing a manuscript on Walter Benjamin’s religious aesthetics, forthcoming with Routledge.

Lloyd Ridgeon lectures on Islamic studies in the Department of Theology and Religious Studies, at the University of Glasgow. His major publications include Aziz Nasafi (Richmond: Curzon Press, 1998) and Persian Meta- CONTRIBUTORS 265 physics and Mysticism (Richmond: Curzon Press, 2003). He has also published an article on Makhamlabaf entitled ‘‘Makhmalbaf’s Broken Mirror,’’ in Durham Middle East Papers.

Edna M. Rodríguez-Mangual is assistant professor of Spanish and Latin American studies at Texas Christian University. Her research and teaching focus on the intersection between cultural expressions (especially literature and film) and nation building. She is currently working on a book manu- script on the Cuban writer Lydia Cabrera, analyzing the representation of Afro-Cubans and Santeria as an alternative national discourse. Her most recent publication is the essay ‘‘Driving a Dead Body through the Nation: Death and Allegory in the Film Guantanamera,’’ in the journal Chasqui.

Antonio D. Sison is a Ph.D./Th.D. candidate from the Philippines currently doing research on the confluence of Edward Schillebeeckx’s eschatology and Third Cinema at the Catholic University of Nijmegen. He taught at the Ateneo de Manila University, the premier Jesuit university in Asia, prior to his doctoral research in the Netherlands. Sison complements his academic interest in theology and cinema with screenwriting. His first screenplay, 9 Mornings, a modern-day parable of conversion, was awarded second place in a national screenwriting contest and enjoyed a successful run when it was released as a film in the Philippines in October 2002.

Luis A. Vivanco is assistant professor of anthropology and director of the Latin American studies program at the University of Vermont. He holds a Ph.D. in cultural anthropology from Princeton University. He has done ethnographic research and published articles on the cultural politics of nature conservation and ecotourism in Costa Rica and Oaxaca, Mexico. He is a coeditor of Talking About People: A Reader in Contemporary Cultural Anthropology (Boston: McGraw-Hill, 2000) and is currently finishing a monograph on the environmental movement in rural Costa Rica.

Judith Weisenfeld is associate professor of religion at Vassar College. She is the author of African-American Women and Christian Activism: New York’s Black YWCA, 1905–1945 (Cambridge: Harvard University Press, 1997), co-editor (with Richard Newman) of This Far By Faith: Readings in African American Women’s Religious Biography (New York: Routledge, 1996), and coeditor (with Christine diStefano and Priscilla Wald) of a special issue of SIGNS (1999). She is the recipient of grants from the American Academy of Religion and the NEH and has been a visiting fellow at the Institute for the Advanced Study of Religion at Yale. Prof. Weisenfeld is currently working on Hollywood Be Thy Name: African-American 266 CONTRIBUTORS

Religion in American Film, 1929–1950 (forthcoming with University of California Press).

Janet Wilson is reader in English at University College Northampton. Her research interests are in linguistics, postcolonial writing, and New Zealand literature. Publications include the edited Preaching in the Reformation (Cambridge: D.S. Brewer, 1993) and Intimate Stranger (Wellington: Steel Roberts, 2000), reminiscences of the New Zealand writer and publisher Dan Davin. She is currently editor of World Literature Written in English and secretary of the New Zealand Studies Association in the United Kingdom. INDEX

Abu-Lughod, Lila, 12 Berlin Film Festival, 182 Academy Awards, 72 Bernstock, Judith, 69 Adah, Anthony, 209, 212 Beyond the Mountain, 11, 110, 114–18 Adventures of Priscilla the Queen of the see also Chung Jiyong Desert, The, 199 Birth of a Nation, The, 12, 240–56 Alea, Tomas Gutiérrez, 183, see also Griffith, D. W. 224–25, 229, 232 Blanchot, Maurice, 83–84 Guantanamera, 232–33 Bonnefoy, Yves, 83 La última cena, 225, 229–31 Bordwell, David, 3 Strawberry and Chocolate, 232 Bourdieu, Pierre, 7 Una pelea cubana contra los Brahma, 30, 31 demonios, 225–26, 227, 229 Brahmani, 30, 31 ‘Ali, 147 Brakhage, Stan, 10 Allen, Woody, 11, 89–93, 95, Braudy, Leo, 3 98, 100, 101 Brazil, 71, 72, 73 Manhattan, 90 Brazilian film, 71 see also Shadows and Fog see also Cinema Novo Anderson, Benedict, 240 Broken English, 198, 207, 210–12 Andrew, Dudley, 70, 76 Brown, Norman O., 146 apocalyptic, 11–12, 145–49, 155–56 Brown, Royal, 79 Apollo, 68, 69 Browning, Barbara, 72 Apollonian, 69, 79 Buddha, 6, 109, 110, 112–13, Appadurai, Arjun, 130 115, 116, 117 Australia, 1, 197 Buddhism/Buddhist, 11, 76, 108–11, Australian film, 199 112–16, 118 avant-garde, 12, 93–94 Mahayana, 112, 113 babalawo, 219, 227, 232 Pure Land, 76 Babalú Allé, 225 ‘‘Buddhist film,’’ 110–11, 113 Babb, Lawrence, 6 Cabiria, 247 Bachchan, Amitabh, 20, 35 Came a Hot Friday, 198 Bae Yonggyun (Yong-Kyun Bae), 111 Campion, Jane, 198, 199, 202–3 Bakhtin, Mikhail, 14n.13, 72 see also Piano, The Banks, Jared, 71 Camus, Marcel, 67, 71–73, 74 Barthes, Roland, 67, 68, 83 see also Orfeu Negro Bayzai, Bahram, 146 candomblé, 72, 85n.12 Beal, Timothy K., 15n. 21 Cannes Film Festival, 72, 150, 152 Bellah, Robert N., 12, 188, 241–42, Capra, Frank, 242, 255 249, 250, 253 Carey, James, 3 Beltran, Benigno P., 185 Carnival, 70, 72, 74–75, 233 Benjamin, Walter, 136 Carpentier, Alejo, 232 Bercovitch, Sacvan, 250 Carr, Todd, 58 Bergman, Ingmar, 10, 96 Castañeda, Quetzil, 12, 159, 161–62, Seventh Seal, 96 164, 166–72, 175 268 INDEX

Castells, Manuel, 4 D’Lugo, Marvin, 80 Castro, Fidel, 219, 225 darshan, 26–27, 30, 37 Central Africa, 43–44, 45–46, 48, 61n.1 Das, Veena, 20, 39n. 4, 41n. 14 Central America, 164, 224 Dash, Julie, 43–45, 47–60 Central Europe, 11, 92 Daughters of the Dust, 11, 43–60 Chang Sonu (Jang Sun-Woo), 110 see also Dash, Julie see also Passage to Buddha death, 11, 33, 48, 55, 67, 70, 71, 74, Changó, 232, 234 75, 77, 80, 84n. 2, 95–99, 101–3 Chichén Itzá, 12, 159–72, 174–75 Death (mythical figure), 71–72, 74, 79, China, 207 81, 96, 99 Christianity/Christian, 9, 14n. 19, 37, Deewar, 20, 35, 36 46, 48, 49, 55, 64n. 28, 74, 95, DeMille, Cecil B., 19, 242 98–99, 101–2, 104, 121–23, Deren, Maya, 10 125–26, 128–29, 131–37 161, 188, diaspora, African, 44–45, 48, 51–55, 197, 200, 213, 225, 226, 227, 228, 57, 59, 61n. 1 229–231, 232, 243, 246 diaspora, Jewish, 104n. 6 Pentecostal, 11, 121–38, 220 Die Hard, 235 Protestant, 8, 41, 55, 101, 121, 122, Diegues, Carlos, 67, 70, 73–74 135, 202–23, 220, 242–46, 247, Dionysus, 69 250, 254, 255 Dirty Harry, 235 Roman Catholicism, 5, 85n. 12, 135, Dixon, Thomas M., 247, 252, 255 161, 165, 181–82, 185–87, 191, documentary film, 58–59, 65n. 36, 71, 200, 219–22, 226, 229, 232, 235, 92, 150, 159–63, 172–76, 184, 242, 250, 254 186, 199, 225, 234 Christus, 247 Douglas, Mary, 3 Chung Jiyong (Ji-yeong Jeong), 110 Du Bois, W. E. B., 44 see also Beyond the Mountain Durga, 28, 29, 31, 34, 35 Cineaste, 71 Durkheim, Emile, 3, 97–98 Cinema Novo, 71, 73, 85n. 16 Dyson, Linda, 202 Cinema Paradiso, 1 East Asia, 11, 108–10, 113 civil religion, 12, 101, 181, 188–90, Eisenstein, Elizabeth, 3, 8 241–42, 247, 249–54 Elegba, 66n. 43 Cocteau, Jean, 67, 70–71, 74 Eliade, Mircea, 83 Orphée, 67, 70 ethnography/ethnographic film, 12, Le sang d’un poete, 70 44–45, 57–60, 160–63, 170–75 Le testament d’Orphée, 70 Eurydice (Euridice), 68, 69, Cohen, Marshall, 3 71, 72–75, 83 Collins, Lisa Gail, 61 Falla, Mañuel de, 79, 81 colonial/colonialism, 182–83, 185, 198, Fanon, Frantz, 149, 184 200, 202–3, 208, 224 Ferguson, James, 137 see also postcolonial/postcolonialism FESPACO (Pan-African Film and communitas, 168–70 Television Festival), 126 community, 8, 43–46, 53–55, 57–59, Filipino, 12, 181–93 73, 74, 76, 80, 81, 92, 93, 98–101, Filmfarsi, 145, 150 111, 135, 136, 161, 167, 208, 211, flamenco, 70, 79, 81 226, 227, 233, 240, 246 Ford, John, 242, 255 Islamic, 146–49, 151, 156 Fraginal, Manuel Moreno, 229 Constantino, Renato, 189 Frame, Janet, 213 Cortázar, Octavio, 225 Gabriel, Teshome, 184 Creed, Barbara, 205 Gandhi, Indira, 36 Croatia, 207, 211 Ganesh, 22, 24–25, 35 Crossan, John Dominic, 93 Gee, Maurice, 201 Cuba, 12, 46, 56, 219–36 Geertz, Clifford, 5 cult film, 11, 20 Getino, Octavio, 183–84 INDEX 269

Ghana, 11, 121–38 interactivity, 161, 173 Ghana Film Industry Corporation, 125 intermedia/intermediality, 6–7, 8, 10 Ginsburg, Faye, 12, 14n. 18, 15n. 22 Iran/Iranian, 11–12, 145, 146, 147, globalization, 124, 130, 137–38, 199 149, 150, 151, 152, 155, 156 Gómez, Manuel Octavio, 225 Iranian cinema, 145 see also Los días del agua Islam/Islamic, 12 135, Gonzalez, Elián, 233 145–51, 155, 156 Good-bye Pork Pie, 197 Shi’ite, 12, 146–49, 156 Grace, Patricia, 213 Sufism, 12, 146, 147, 148–49, 156 Griffith, D. W., 12, 240–56 Islamic Revolution (Iran, 1978), Intolerance, 245 145, 150, 155 see also Birth of a Nation, The Jackson, Peter, 198, 201, griot, 45, 59 204–6, 208, 213 Guanyin, 115–16 Bad Taste, 205 Gullah, 11, 43–45, 50–51, Braindead, 205 57–59, 61n. 2 The Lord of the Rings, 208 Hall, Stuart, 234 see also Heavenly Creatures Hardy, Linda, 204 Jai Santoshi Maa, 1, 10, 19–38, 39n. 4 Hatami, Ali, 146 Jain, Kajri, 35 Heart Sūtra, 109 Japan/Japanese, 67, 75–76, 108, 111 Heavenly Creatures, 198, 201, Jesus of Nazareth, 1 204–5, 212–14 Jim Crow, 248 see also Jackson, Peter Johnson, Kenneth, 77 Hernández, Bernabé, 225 Jowett, Garth, 243 Abakuá, 225 Judaism/Jewish, 11, 64n. 28, 90, 92, Cultura Aborigen, 225 95, 99, 104n. 5–6 Himpele, Jeff, 12, 159, 161, 164, Hasidim, 102 166–67, 169–72, 175 Orthodox Judaism, 102 Hinduism/Hindu, 20, 21, 24, 25, 26, katabasis, 67, 81, 83, 84n. 2 30, 37, 181 Khomeini, Ayatollah, 149 Hitchcock, Alfred, 67, 77, 79 Kiarostami, Abbas, 146, 157n. 5–6 see also Vertigo Kieslowski, Krzysztof, 10 Hollywood, 9, 10, 12, 14n. 19, 43, 45, Kimiai, Masoud, 146, 147 57, 59, 61n. 3, 70, 72, 79, 82, 150, Dash Akol, 146 181, 183, 184, 188, 199, 206, 222, Qaisar, 146 224, 240, 243, 255 King, John, 222, 224 Hulme, Keri, 213 Kittler, Friedrich, 3 ICAIC (Cuban Institute of Art and Kongo, 46–47, 48, 49, 52–53, 61n. 2 Industrial Cinematography), 224, Korea, 108, 111, 112 225, 233, 237n. 25 Korean cinema, 110–11, 112, 113 Ikú, 232 Kurtz, Stanley, 20, 25, 39n. 4, 40n. Im Kwontaek, 111–16 11, 42n. 24 Come, Come, Come La Hora de los Hornos, 184 Upward, 111, 115 La Virgen de la Caridad, 222–23, 233 Festival, 111 La Virgen de la Caridad del Cobre, Mandala, 111, 115, 116 221, 223, 233 Sopyonje, 111 Lakshmi, 30–31 Imam (in Shi’ism) 147–49 Lang, Fritz, 92 Incidents of Travel in Chichén Itzá, Larkin, Brian, 12, 139 12, 159–177 Long, Charles, 243 see also Himpele, Jeff and Los días del agua, 225, 227–29 Castañeda, Quetzil Lucas, George, 1, 10 India, 1, 9, 11, 20, 21, 22, 25, Lumet, Sidney, 67, 81, 86n. 35 39n. 4, 97 The Fugitive Kind, 67, 81 270 INDEX

Mahdi, 147–49, 154–56 Morgan, Stacy I., 51 Makhmalbaf, Mohsen, 11–12, 145–58 Mother India, 29 The Afgan Alphabet, 151 Muhammad, 146, 147, 148, 153 Gabbeh, 150 Muriel’s Wedding, 199 Nasir al-Din Shah, 150 Murnau, Friedrich, 92 Salaam Sinema, 150 mythological film (Indian), 10, 19, 20, Sokoot, 150 21, 24, 25, 36 Qandahar, 151 Nasafi, ‘Aziz, 147, 148, 157n. 12 see also Moment of Innocence Neupert, Richard, 68, 84n. 3 Makhmalbaf, Samira, 150, 151 New Age, 82, 159, 162, 164, 165–66, The Apple, 151 169–71, 174–75 The Blackboard, 151 ‘‘New Israel’’ (United States Mami Water, 128, 132 as), 241, 255 Mander, Jane, 201 New Zealand, 12, 197–217 Maori, 12, 198–200, 201–3, 207–13 Ngati, 208 Marcos, Ferdinand, 182, 190, 195n. 27 Nichols, Bill, 161, 172, 173, 174 Mariska, 131–33 Nigeria/Nigerian, 126, 133, 139n. Marker, Chris, 224 3, 142n. 36 Marshall, Paule, 51 nō (noh) theatre, 70, 76, 86n. 23 masala film, 20, 30 Nye, Malory, 10 Mast, Gerald, 3 Oggún, 66n. 43, 234 Matrix, The, 82–83 Olofi, 231 May, Lary, 244, 245 Once Were Warriors, 198, 207–8, Maya (goddess), 28–29, 31, 34, 35 210, 211, 212 Maya (Mesoamerican), 159–62, see also Tamohori, Lee 164–66, 169–70, 174 One Day I Asked, 187 Mayer, Louis B., 255 Ong, Walter, 7, 14n. 15 McLoughlin, William C., 190 orality/oral communication, 5, 7, 45, McLuhan, Marshall, 3, 13n. 7 59, 93, 108, 109, 110, 118 media/medium, 3–9, 10, 11, 12, 13n. 6, second orality, 7 40n. 4, 41n. 14, 70, 107, 111, 114, 119, 123–24, 126, 129, 130, Orfeu Negro, 67, 68, 70, 71–73, 81, 83 134–36, 137, 170, 195n. 26, orisha, 85n. 12, 222, 233, 234 223, 224, 229, 240, 241–47, Ortiz, Fernando, 226 254, 255–56 Oshún, 233–34 Mehrjui, Dariush, 145 Oya, 66n. 43, 234 Gav, 145 p’ansori, 108–10 Mencken, H. L., 249 Pabst, G. W., 92 Merritt, Russell, 247 Pakeha, 200, 201, 208, 209, 211, 213 Meshkini, Marzieh, 151 parable, 11, 93–94, 229, 231, 232 The Day I Became a Woman, 151 Parvati, 22, 28, 30–31, 35 Mexico, 159 Passage to Buddha, 11, 110–14, 118 Mizoguchi, Kenji, 67, 70, see also Chang Sonu 76–77, 85n. 20 Peón, Ramón, 222–23 The Life of Oharu, 76 see also La Virgen de la Caridad Sansho the Bailiff, 77 performance, 21–22, 24, 25, 74, 76, see also Ugetsu 108–10, 118–19, 149, 160, modernity, 15n. 21, 100, 121–25, 163, 170–75 128–30, 133, 135–37 Perfumed Nightmare, 12, 181–96 Moment of Innocence, A (Noon va see also Tahimik, Kidlat Goldoon), 11, 146, 152–56 Philippines, 12, 181–82, 185, 187, see also Makhmalbaf, Mohsen 189–90, 192 Moore, Rachel, 10, 15n. 21 see also Filipino Moraes, Vinicius de, 71, 73, 85n. 16 Piano, The, 198, 201–4, 208, 212 Orfeu Negro da Conceiçao, 71 see also Campion, Jane INDEX 271

Pope John Paul II, 219–20, 221 Solás, Humberto, 233 postcolonial/postcolonialism, 12, 124, Miel para Oshún, 233 182, 184–85, 187, 192, 193, South Africa, 198, 206 198–200, 208, 211, 213, South America, 195 220, 234, 235 St. Francis, 247 see also colonial/colonialism Stagecoach, 235 Prasad, M. Madhava, 35 Stam, Robert, 8, 72 Production Code, 242 Star Wars, 1, 2 Pudovkin, Vsevold, 192 Stephens, John L., 164 Quo Vadis, 247 Sundance Film Festival, 62n. 6 Qur’an, 146–49, 153, 157n. 13 syncretic/syncretism, 8, 85n. 12, 225, Ramanujan, A. K., 23 231, 232, 234, 235, 236n. 6 Reza, Muhammad, 149 Tabío, Juan Carlos, 233 Rich, B. Ruby, 57 Tahimik, Kidlat, 12, 182, 183, Rizal, Jose P., 185 192–93, 195n. 31 Rocky Horror Picture Show, 1 see also Perfumed Nightmare Rolando, Gloria, 233–35 Tamahori, Lee, 198 Los marqueses de Atarés, 233 see also Once Were Warriors Raíces de mi corazón, 234 Tate, Greg, 44 Oggún: The Eternal Presence, 234–35 Ten Commandments, The, 1 Rony, Fatimah Tobing, 58 Third Cinema, 182–84, 185, 187, 188, sacred, 5, 12, 83–84, 93, 100–3, 160, 191, 194n. 10 163, 168, 170, 175–76, 188, 205, Thompson, Kristin, 3, 13n. 3, 61n. 3 210, 212, 228, 229, 234, 250, 253 Thompson, Robert Farris, 46, 54, 61n. samba, 71, 72, 73, 74 1, 63n. 13, 64n. 30, 65n. 32 Sankofa, 124 Thornhill, Arthur, 76 Santería, 12, 85n. 12, 219–22, 224–25, ‘‘The Thunder, Perfect Mind,’’ 48, 227–28, 231–33, 235 54, 63n. 15 Sargeson, Frank, 201 tourism, 30, 159, 164, 166–68 Sarlo, Beatriz, 164 transmediality, 6–8, 11 Saura, Carlos, 67, 79, 80, 81 Treaty of Paris, 181, 183, Boda de sangre, 80 187, 189, 192 El amor brujo, 67–68, 70, 79–81, 83 Treaty of Waitangi, 199 Schickel, Richard, 245 Turner, Edith, 168 Schillebeeckx, Edward, 192, 193 Turner, Victor, 168 Schlesinger, Philip, 240, 241 2001: A Space Odyssey, 193 Schroeder, Paul A., 225, 226, 229, Ugetsu, 67, 68, 70, 75–77, 81, 83 231, 232, 235 see also Mizoguchi, Kenji ‘‘second new wave’’ (Iran), 146, 150 United Kingdom, 198, 200 Sembene, Ousmane, 183 United States, 222, 239–41, Sen, Mrinal, 183 242–43, 254–56 Sewall, Elizabeth, 69 Venice Film Festival, 75 Shadows and Fog, 89–103 Vertigo, 67, 68, 70, 77, 83 see also Allen, Woody see also Hitchcock, Alfred Shari’ati, ‘Ali, 149, 157n. 17 video-film, 11, 124, 126–27, 128, 129, Sharret, Christopher, 212 133, 135, 136–37 Shiva, 22, 30, 31 Vimalakîrtinirdeúa Sūtra, 113 Shohat, Ella, 8 Virgin Mary, 186, 187, 188, 189, 227 Sholay, 20, 35, 36 Virtue, Noel, 201 Silva, Fred, 249 Vishnu, 24, 30, 31, 41 Simmon, Scott, 245, 246 von Trier, Lars, 192 Smash Palace, 200 vrat, 20–24, 28, 32, 34, 36, 38 Smith, Jane, 200 Wagner, Richard, 89 Solanas, Fernando, 183, 184 Wallace, Randall, 10 272 INDEX

‘‘wandering Jew,’’ 95 Weber, Max, 122, 131 Welles, Orson, 206 West Africa, 51, 61n. 2, 140n. 14, 220 What Dreams May Come, 82 Wiebe, Robert, 244 Wiesel, Elie, 102 Williams, Tennessee, 67, 81 Wilson, Charles Reagan, 249, 250, 251 Winthrop, John, 253 Wood, Robin, 79 Works Progress Administration (WPA), 50, 62n. 9, 64n. 22 Yemaja, 66n. 43, 233 Yoruba, 45, 59, 221, 228, 234 Yoshikata, Yoda, 76 Yugoslavia, 207