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AFRICAN AMERICAN STUDIES • FILM STUDIES DANCING EXILE CINEMA WtÇv|Çz ON THE WHITE PAGE Filmmakers at Work on the White Page Black Women beyond Hollywood Entertainers Writing MICHAEL ATKINSON, EDITOR Black Women Autobiography Entertainers Offers a cross section of Writing KWAKIUTL L. DREHER Autobiography international fringe cinema. Investigates the literary voices of six Black women utside the shrinking American FILMMAKERS AT WORK BEYOND HOLLYWOOD Ofi lm-culture market there is Kwakiutl L. entertainers and how they ne- Dreher Edited by MICHAEL ATKINSON gotiated the tensions between a vast movie-crazed world where the entertainment industries madmen, geniuses, and apostates and the Black community. roam freely, subject to a relatively minimal degree of corporate industry and CONTRIBUTORS spin control. In Exile Cinema, prominent ancing on the White Page examines the popular autobiogra- Geoff Andrew fi lm critics profi le the oeuvres of working, phies of six well-known Black women entertainers— National Film Theatre, D London, UK thriving international fi lmmakers— Diahann Carroll, Dorothy Dandridge, Lena Horne, Eartha Kitt, Michael Atkinson from Bela Tarr to Judith Helfand, Whoopi Goldberg, and Mary Wilson—and makes a case for Long Island U., from Kiyoshi Kit and Guy Maddin adding Black celebrity autobiography to the African American Brookville to Chantal Akerman and Michele Soavi, literary canon. As she explores these women’s fascinating stories, Patricia Aufderheide American U. from Chris Marker to the newest thresholds Kwakiutl L. Dreher reveals how each one improvises the choreog- Godfrey Cheshire of contemporary fi lm. These fi lmmakers raphy of her life to survive and thrive in the fi lm, television, and NY, NY battle the greatest odds a modern artist music industries, as well as the politically charged environment Joshua Clover can face: the opposition of mass culture of the Black community, most specifically represented by U. of CA, Davis Graham Fuller at large and a medium that requires the NAACP. Reading each autobiography as a site of self-revelation, Brooklyn, NY enormous expenditures in every stage Dreher discovers stories of Black self-determination along with Ed Halter of production and distribution. Naturally, the fi ght for liberation from oppression and racial and gender Bard Coll. the average American moviehead rarely discrimination. She explores each woman’s full meaning in Howard Hampton Apple Valley, CA gets a chance to see these marginalized American culture at large and in American entertainment culture B. Kite directors’ work and often knows about in particular. Brooklyn, NY them only through dazzled rumors and Stuart Klawans rhapsodic hearsay. Whimsical and deeply “This engaging book adds an important element to discussions NY, NY Dennis Lim subjective, the viewpoints and evangelisms in popular culture about the images of Black women so loosely Museum for the Moving in Exile Cinema will serve as salve for displayed in music videos, fi lms, television series, and commercials. Image, Astoria, NY the cineaste’s lonesome fury. Dreher contextualizes the salacious details that often overshadow Guy Maddin the critical contributions these entertainers have made, not only Winnipeg, Canada Maitland McDonagh “…Elegant and erudite, this is a key volume to entertainment, but also to the civil rights movements of our time.” TV Guide.com, NY, NY for twenty-fi rst-century fi lm studies, a volume — Carol E. Henderson, author of Scarring the Black Body: Ed Park to read again and again with pleasure Race and Representation in African American Literature NY, NY Mark Peranson and wonder.” — Wheeler Winston Dixon Vancouver Int’l Film KWAKIUTL L. DREHER is Assistant Professor of English and Centre, Canada MICHAEL ATKINSON is Professor of Film Ethnic Studies at the University of Nebraska at Lincoln. Jonathan Romney at the C. W. Post campus of Long Island London, UK A volume in the SUNY series, Cultural Studies in Cinema/Video Jonathan Rosenbaum University and former staff fi lm critic for the Wheeler Winston Dixon, editor Chicago, IL Village Voice. His previous books include Laura Sinagra Flickipedia; Ghosts in the Machine: JANUARY • 224 pp. Brooklyn, NY The Dark Heart of Pop Cinema; $21.95 pb 978-0-7914-7284-2 Chuck Stephens $74.50 hc 978-0-7914-7283-5 Nashville, TN Blue Velvet; and a collection of poetry, David Sterritt One Hundred Children Waiting for a Train. Baltimore, MD David Thompson A volume in the SUNY series, Horizons of Cinema London, UK Murray Pomerance, editor George Toles U. of Manitoba, MARCH • 224 pp. Winnipeg, Canada $24.95 pb 978-0-7914-7378-8 Jessica Winter $74.50 hc 978-0-7914-7377-1 Brooklyn, NY 2222 1-800-666-2211 FILM STUDIES SOUNDINGS ON CINEMA NOW PLAYING Soundings Speaking to Film Now Playing Early Moviegoing and on Cinema and Film Artists ••••••••••••••••••• the Regulation of Fun Early Moviegoing and the Regulation of Fun Speaking to Film and Film Artists BERT CARDULLO PAUL S. MOORE Bert Cardullo Thought-provoking inter- Locates the origins of the views with nine major fi lm mass audience and the emer- directors, accompanied by gence of everyday moviegoing critical essays on their work. in the culture of cities. PAUL S.MOORE n Soundings on Cinema, sing Toronto as a case study, Ifi lm critic Bert Cardullo Uand focusing on a period engages nine major international from the opening of the fi rst fi lm directors—Michelangelo Antonioni, Ingmar Bergman, theaters showcasing moving pictures in 1906 to the end of Robert Bresson, Vittorio De Sica, Federico Fellini, Aki Kaurismäki, World War I, Now Playing locates the origins of our present-day Mike Leigh, Jean Renoir, and Hans-Jürgen Syberberg—in a series mass audience in the culture of cities. Paul S. Moore examines of dialogues about how they work, the meanings of their movies, the emergence of everyday moviegoing and its regulation through and the relationship of their pictures to other directors’ fi lms and neglected details like fi re safety, newspaper ads, serial fi lms, and to the other arts. Each of these probing and thought-provoking amusement taxes, connecting them to more familiar themes interviews is accompanied by an overview of the director’s career, of studio ownership of theaters, censorship, and journalism. an essay on a particular fi lm, or a series of interconnected reviews In Toronto—a foreign city inside the American mass market— of the director’s fi lms. Focusing on practical matters related to patriotism ultimately comes to the fore as civic forms of fi lmmaking—acting, design, cinematography, directing, writing, showmanship turn the simple act of “going to the movies” and editing—as well as historical, aesthetic, and critical-theoretical into a form of citizenship. issues raised by the fi lms themselves, Cardullo explains how, at their best, these fi lmmakers use the resources of their medium “This is an exquisitely researched, shrewdly conceived, and lucidly to pursue complex, signifi cant humanistic goals. compelling study. Moore demonstrates that local and regional practices of ‘showmanship’—of municipal regulation, newspaper “This is a lively and varied collection focusing on fi lmmakers who circulation, management strategies, and so on—quite literally have played truly important roles in the evolution of modern cinema. produced or constructed a globally oriented sensibility of The interviews are intelligent and to the point, and Cardullo is mass culture. That the author arrives at his conclusions via more willing than most interviewers to challenge the fi lmmakers a rich, archeological methodology that is rooted in the very he’s talking with, expressing divergent views on issues he regards specifi c, local practices developing in Toronto in the early as particularly signifi cant. While published interviews are not twentieth century proves him to be a remarkably astute historian. a mainstay of cinema scholarship, those included here provide Indeed, this study offers the best of what might generally invaluable information, as well as a humanizing perspective on be termed ‘new’ fi lm historical work.” — Jennifer M. Bean, these fi lm artists.” — David Sterritt, Long Island University coeditor of A Feminist Reader in Early Cinema BERT CARDULLO is Professor of American Culture and Literature “Paul Moore handles his subject brilliantly. The questions he at Ege University in Izmir, Turkey, and longtime movie critic addresses are crucial for the advancement of our comprehension for The Hudson Review. His many books include In Search of early cinema, and the book is a model for pinpoint historical of Cinema: Writings on International Film Art and Playing to research.” — André Gaudreault, Université de Montréal the Camera: Film Actors Discuss Their Craft. PAUL S. MOORE is Assistant Professor in Sociology and A volume in the SUNY series, Horizons of Cinema in the Graduate Program in Communication and Culture Murray Pomerance, editor at Ryerson University in Toronto. APRIL • 320 pp. 18 b/w photographs A volume in the SUNY series, Horizons of Cinema $29.95 pb 978-0-7914-7408-2 Murray Pomerance, editor $89.50 hc 978-0-7914-7407-5 APRIL • 272 pp. 10 b/w photographs, 7 illustrations, 1 map, 2 tables $24.95 pb 978-0-7914-7418-1 $74.50 hc 978-0-7914-7417-4 2233 WWW.SUNYPRESS.EDU FILM STUDIES • COMMUNICATION NEW IN PAPER Conspi racy CONSPIRACY PANICS Pani cs Political Rationality THE REAL GAZE Political Rationality and Popular Culture and Popular Culture Film Theory after Lacan JACK Z. BRATICH TODD MCGOWAN Examines the gaze in Lacanian fi lm theory. Examines contemporary anxiety over the phenomenon The Real Gaze develops a new theory of of conspiracy theories. the cinema by rethinking the concept of the gaze, which has long been central in hile most other works fi lm theory. Historically fi lm scholars have located the gaze on the side Jack Z. Brati ch W focus on conspiracy theories, of the spectator; however, Todd McGowan positions it within the fi lmic this book examines conspiracy image, where it has the radical potential to disrupt the spectator’s sense panics, or the anxiety over the of identity and challenge the foundations of ideology.

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