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<dc:title>SHORT NOTICES</dc:title>
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<dc:title>THE GRAVEYARD SATIRE OF BLEAK HOUSE IN THE CONTEXT OF 1850</dc:title>
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<dc:title>THE DATE OF MILTON&apos;S ITALIAN POEMS</dc:title>
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<dc:title>DEFOE&apos;S PIRATES: A NEW SOURCE</dc:title>
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<dc:title>&apos;THE PURPLE YEAR&apos; IN POPE AND GRAY</dc:title>
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<dc:title>EDITORIAL NOTE</dc:title>
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<dc:title>REVIEWS</dc:title>
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<dc:title>REVIEWS</dc:title>
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<dc:title>REVIEWS</dc:title>
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<dc:title>SHORT NOTICES</dc:title>
<dc:creator>BRADBROOK, M. C.</dc:creator>
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<record><header><identifier>oai:open-archive.highwire.org:revesj:XIV/56/437-b</identifier><datestamp>2013-05-14</datestamp><setSpec>HighWire</setSpec><setSpec>OUP</setSpec><setSpec>revesj:XIV:56</setSpec></header><metadata>
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<dc:title>SHORT NOTICES</dc:title>
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<record><header><identifier>oai:open-archive.highwire.org:revesj:XIV/56/438-a</identifier><datestamp>2013-05-14</datestamp><setSpec>HighWire</setSpec><setSpec>OUP</setSpec><setSpec>revesj:XIV:56</setSpec></header><metadata>
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<dc:title>SHORT NOTICES</dc:title>
<dc:creator>TRICKETT, RACHEL</dc:creator>
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<dc:date>1963-01-01 00:00:00.0</dc:date>
<dc:type>TEXT</dc:type>
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<dc:identifier>http://res.oxfordjournals.org/cgi/content/short/XIV/56/438-a</dc:identifier>
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<dc:title>SHORT NOTICES</dc:title>
<dc:creator>RAWSON, C. J.</dc:creator>
<dc:subject>Articles</dc:subject>
<dc:publisher>Oxford University Press</dc:publisher>
<dc:date>1963-01-01 00:00:00.0</dc:date>
<dc:type>TEXT</dc:type>
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<record><header><identifier>oai:open-archive.highwire.org:revesj:XIV/56/439</identifier><datestamp>2013-05-14</datestamp><setSpec>HighWire</setSpec><setSpec>OUP</setSpec><setSpec>revesj:XIV:56</setSpec></header><metadata>
<oai_dc:dc xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/"
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<dc:title>SHORT NOTICES</dc:title>
<dc:creator>JONES, EMRYS</dc:creator>
<dc:subject>Articles</dc:subject>
<dc:publisher>Oxford University Press</dc:publisher>
<dc:date>1963-01-01 00:00:00.0</dc:date>
<dc:type>TEXT</dc:type>
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<dc:identifier>http://res.oxfordjournals.org/cgi/content/short/XIV/56/439</dc:identifier>
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<record><header><identifier>oai:open-archive.highwire.org:revesj:XIV/56/440</identifier><datestamp>2013-05-14</datestamp><setSpec>HighWire</setSpec><setSpec>OUP</setSpec><setSpec>revesj:XIV:56</setSpec></header><metadata>
<oai_dc:dc xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/"
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<dc:title>SUMMARY OF PERIODICAL LITERATURE</dc:title>
<dc:creator>MORGAN, EDWIN</dc:creator>
<dc:creator>RILLIE, JOHN A. M.</dc:creator>
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<dc:date>1963-01-01 00:00:00.0</dc:date>
<dc:type>TEXT</dc:type>
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<record><header><identifier>oai:open-archive.highwire.org:revesj:XIV/56/444</identifier><datestamp>2013-05-14</datestamp><setSpec>HighWire</setSpec><setSpec>OUP</setSpec><setSpec>revesj:XIV:56</setSpec></header><metadata>
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<dc:title>INDEX</dc:title>
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<dc:type>TEXT</dc:type>
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<record><header><identifier>oai:open-archive.highwire.org:revesj:XIV/55/326-a</identifier><datestamp>2013-05-14</datestamp><setSpec>HighWire</setSpec><setSpec>OUP</setSpec><setSpec>revesj:XIV:55</setSpec></header><metadata>
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<dc:title>SHORT NOTICES</dc:title>
<dc:creator>FULLER, JOHN</dc:creator>
<dc:subject>Articles</dc:subject>
<dc:publisher>Oxford University Press</dc:publisher>
<dc:date>1963-01-01 00:00:00.0</dc:date>
<dc:type>TEXT</dc:type>
<dc:format>text/html</dc:format>
<dc:identifier>http://res.oxfordjournals.org/cgi/content/short/XIV/55/326-a</dc:identifier>
<dc:identifier>http://dx.doi.org/10.1093/res/XIV.55.326-a</dc:identifier>
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<record><header><identifier>oai:open-archive.highwire.org:revesj:XIV/55/225</identifier><datestamp>2013-05-14</datestamp><setSpec>HighWire</setSpec><setSpec>OUP</setSpec><setSpec>revesj:XIV:55</setSpec></header><metadata>
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<dc:title>NASHE&apos;S VISIT TO THE ISLE OF WIGHT AND HIS PUBLICATIONS OF 1592-4</dc:title>
<dc:creator>HARLOW, C. G.</dc:creator>
<dc:subject>Articles</dc:subject>
<dc:publisher>Oxford University Press</dc:publisher>
<dc:date>1963-01-01 00:00:00.0</dc:date>
<dc:type>TEXT</dc:type>
<dc:format>text/html</dc:format>
<dc:identifier>http://res.oxfordjournals.org/cgi/content/short/XIV/55/225</dc:identifier>
<dc:identifier>http://dx.doi.org/10.1093/res/XIV.55.225</dc:identifier>
<dc:language>en</dc:language>
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<record><header><identifier>oai:open-archive.highwire.org:revesj:XIV/55/243</identifier><datestamp>2013-05-14</datestamp><setSpec>HighWire</setSpec><setSpec>OUP</setSpec><setSpec>revesj:XIV:55</setSpec></header><metadata>
<oai_dc:dc xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/"
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<dc:title>FRIDAY AS A CONVERT: DEFOE AND THE ACCOUNTS OF INDIAN MISSIONARIES</dc:title>
<dc:creator>HUNTER, J. PAUL</dc:creator>
<dc:subject>Articles</dc:subject>
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<dc:date>1963-01-01 00:00:00.0</dc:date>
<dc:type>TEXT</dc:type>
<dc:format>text/html</dc:format>
<dc:identifier>http://res.oxfordjournals.org/cgi/content/short/XIV/55/243</dc:identifier>
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<record><header><identifier>oai:open-archive.highwire.org:revesj:XIV/55/249</identifier><datestamp>2013-05-14</datestamp><setSpec>HighWire</setSpec><setSpec>OUP</setSpec><setSpec>revesj:XIV:55</setSpec></header><metadata>
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<dc:title>THE IRONIC INTENTION OF SWIFT&apos;S VERSES ON HIS OWN DEATH</dc:title>
<dc:creator>SLEPIAN, BARRY</dc:creator>
<dc:subject>Articles</dc:subject>
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<dc:type>TEXT</dc:type>
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<record><header><identifier>oai:open-archive.highwire.org:revesj:XIV/55/257</identifier><datestamp>2013-05-14</datestamp><setSpec>HighWire</setSpec><setSpec>OUP</setSpec><setSpec>revesj:XIV:55</setSpec></header><metadata>
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<dc:title>SWINBURNE AND SYMONDS: AN UNEASY LITERARY RELATIONSHIP</dc:title>
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<dc:type>TEXT</dc:type>
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<record><header><identifier>oai:open-archive.highwire.org:revesj:XIV/55/269</identifier><datestamp>2013-05-14</datestamp><setSpec>HighWire</setSpec><setSpec>OUP</setSpec><setSpec>revesj:XIV:55</setSpec></header><metadata>
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<dc:title>WILLIAM DUNBAR: THE &apos;FENYEIT FREIR&apos;</dc:title>
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<dc:date>1963-01-01 00:00:00.0</dc:date>
<dc:type>TEXT</dc:type>
<dc:format>text/html</dc:format>
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<record><header><identifier>oai:open-archive.highwire.org:revesj:XIV/55/273</identifier><datestamp>2013-05-14</datestamp><setSpec>HighWire</setSpec><setSpec>OUP</setSpec><setSpec>revesj:XIV:55</setSpec></header><metadata>
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<dc:title>FANNY BURNEY&apos;S FIRST LETTER TO DR. JOHNSON</dc:title>
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<dc:date>1963-01-01 00:00:00.0</dc:date>
<dc:type>TEXT</dc:type>
<dc:format>text/html</dc:format>
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           xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/ http://www.openarchives.org/OAI/2.0/oai_dc.xsd">
<dc:title>Film England: Culturally English Filmmaking since the 1990s</dc:title>
<dc:creator>Chapman, James</dc:creator>
<dc:subject>REVIEWS</dc:subject>
<dc:publisher>Oxford University Press</dc:publisher>
<dc:date>2013-03-01 00:00:00.0</dc:date>
<dc:type>TEXT</dc:type>
<dc:format>text/html</dc:format>
<dc:identifier>http://screen.oxfordjournals.org/cgi/content/short/54/1/109</dc:identifier>
<dc:identifier>http://dx.doi.org/10.1093/screen/hjs072</dc:identifier>
<dc:language>en</dc:language>
<dc:rights>Copyright (C) 2013, John Logie Baird Centre</dc:rights>
</oai_dc:dc>
</metadata></record>
<record><header><identifier>oai:open-archive.highwire.org:screen:54/1/107</identifier><datestamp>2013-03-08</datestamp><setSpec>HighWire</setSpec><setSpec>OUP</setSpec><setSpec>screen:54:1</setSpec></header><metadata>
<oai_dc:dc xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/"
           xmlns:dc="http://purl.org/dc/elements/1.1/"
           xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
           xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/ http://www.openarchives.org/OAI/2.0/oai_dc.xsd">
<dc:title>Antonioni: Centenary Essays</dc:title>
<dc:creator>Duncan, Derek</dc:creator>
<dc:subject>REVIEWS</dc:subject>
<dc:publisher>Oxford University Press</dc:publisher>
<dc:date>2013-03-01 00:00:00.0</dc:date>
<dc:type>TEXT</dc:type>
<dc:format>text/html</dc:format>
<dc:identifier>http://screen.oxfordjournals.org/cgi/content/short/54/1/107</dc:identifier>
<dc:identifier>http://dx.doi.org/10.1093/screen/hjs073</dc:identifier>
<dc:language>en</dc:language>
<dc:rights>Copyright (C) 2013, John Logie Baird Centre</dc:rights>
</oai_dc:dc>
</metadata></record>
<record><header><identifier>oai:open-archive.highwire.org:screen:54/1/113</identifier><datestamp>2013-03-08</datestamp><setSpec>HighWire</setSpec><setSpec>OUP</setSpec><setSpec>screen:54:1</setSpec></header><metadata>
<oai_dc:dc xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/"
           xmlns:dc="http://purl.org/dc/elements/1.1/"
           xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
           xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/ http://www.openarchives.org/OAI/2.0/oai_dc.xsd">
<dc:title>What is Media Archaeology? * Media Archaeology: Approaches, Applications and Implications</dc:title>
<dc:creator>Potts, John</dc:creator>
<dc:subject>REVIEWS</dc:subject>
<dc:publisher>Oxford University Press</dc:publisher>
<dc:date>2013-03-01 00:00:00.0</dc:date>
<dc:type>TEXT</dc:type>
<dc:format>text/html</dc:format>
<dc:identifier>http://screen.oxfordjournals.org/cgi/content/short/54/1/113</dc:identifier>
<dc:identifier>http://dx.doi.org/10.1093/screen/hjs074</dc:identifier>
<dc:language>en</dc:language>
<dc:rights>Copyright (C) 2013, John Logie Baird Centre</dc:rights>
</oai_dc:dc>
</metadata></record>
<record><header><identifier>oai:open-archive.highwire.org:screen:54/1/1</identifier><datestamp>2013-03-08</datestamp><setSpec>HighWire</setSpec><setSpec>OUP</setSpec><setSpec>screen:54:1</setSpec></header><metadata>
<oai_dc:dc xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/"
           xmlns:dc="http://purl.org/dc/elements/1.1/"
           xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
           xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/ http://www.openarchives.org/OAI/2.0/oai_dc.xsd">
<dc:title>Life driven by death: animation aesthetics and the comic uncanny</dc:title>
<dc:creator>Flaig, Paul</dc:creator>
<dc:subject>ARTICLES</dc:subject>
<dc:description> Many approaches to animation underscore a double relationship to life and movement, a relationship that, according to the seminal book &lt;it&gt;Disney Animation: the Illusion of Life&lt;/it&gt;, should be expressed in realistic motion, linear narrative and empathetic characterization. Implicit in this formulation is a kind of death behind the illusion, one that is often theorized as a moment of stasis, the fundamental condition for animation&apos;s life. This essay argues against the conflation of life and movement, identifying a death-driven, immortal life beyond finitude, one that has a particular legacy in the history of cinema. Less a definition of animation as such than one of its particular aesthetic modalities, this death-driven animation has usually been noticed only in the paradigmatic genres of expressionism and horror, its calling card the anxiety suggested by Freud&apos;s uncanny. Here, I construct a comic current of the uncanny, found most visibly and affectively in the cinema of attractions, cartoons of the 1920s and 1930s as well as contemporary horror comedies. Against ironic readings of this comic uncanny, one insistent on the gap between the film&apos;s uncanny events and a cognitively distant audience, I argue that there is a humour in horror that overcomes this gap through an alliance of kinaesthetic movement on screen with the spectator&apos;s corporeal sensation. Such uncanny movement, both seen and sensed, is figured in the grotesque violence of ghosts, partial objects and undead creatures, their exaggeration and over-driven motion provoking less fear or ironic pleasure than a perverse enjoyment that animates along with these figures&#8217; plasmatic movements and transformations. </dc:description>
<dc:publisher>Oxford University Press</dc:publisher>
<dc:date>2013-03-01 00:00:00.0</dc:date>
<dc:type>TEXT</dc:type>
<dc:format>text/html</dc:format>
<dc:identifier>http://screen.oxfordjournals.org/cgi/content/short/54/1/1</dc:identifier>
<dc:identifier>http://dx.doi.org/10.1093/screen/hjs065</dc:identifier>
<dc:language>en</dc:language>
<dc:rights>Copyright (C) 2013, John Logie Baird Centre</dc:rights>
</oai_dc:dc>
</metadata></record>
<record><header><identifier>oai:open-archive.highwire.org:screen:54/1/124</identifier><datestamp>2013-03-08</datestamp><setSpec>HighWire</setSpec><setSpec>OUP</setSpec><setSpec>screen:54:1</setSpec></header><metadata>
<oai_dc:dc xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/"
           xmlns:dc="http://purl.org/dc/elements/1.1/"
           xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
           xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/ http://www.openarchives.org/OAI/2.0/oai_dc.xsd">
<dc:title>Contributors</dc:title>
<dc:subject>CONTRIBUTORS</dc:subject>
<dc:publisher>Oxford University Press</dc:publisher>
<dc:date>2013-03-01 00:00:00.0</dc:date>
<dc:type>TEXT</dc:type>
<dc:format>text/html</dc:format>
<dc:identifier>http://screen.oxfordjournals.org/cgi/content/short/54/1/124</dc:identifier>
<dc:identifier>http://dx.doi.org/10.1093/screen/hjs056</dc:identifier>
<dc:language>en</dc:language>
<dc:rights>Copyright (C) 2013, John Logie Baird Centre</dc:rights>
</oai_dc:dc>
</metadata></record>
<record><header><identifier>oai:open-archive.highwire.org:screen:54/1/126</identifier><datestamp>2013-03-08</datestamp><setSpec>HighWire</setSpec><setSpec>OUP</setSpec><setSpec>screen:54:1</setSpec></header><metadata>
<oai_dc:dc xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/"
           xmlns:dc="http://purl.org/dc/elements/1.1/"
           xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
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<dc:title>Notes to Contributors</dc:title>
<dc:subject>NOTES TO CONTRIBUTORS</dc:subject>
<dc:publisher>Oxford University Press</dc:publisher>
<dc:date>2013-03-01 00:00:00.0</dc:date>
<dc:type>TEXT</dc:type>
<dc:format>text/html</dc:format>
<dc:identifier>http://screen.oxfordjournals.org/cgi/content/short/54/1/126</dc:identifier>
<dc:identifier>http://dx.doi.org/10.1093/screen/hjs060</dc:identifier>
<dc:language>en</dc:language>
<dc:rights>Copyright (C) 2013, John Logie Baird Centre</dc:rights>
</oai_dc:dc>
</metadata></record>
<record><header><identifier>oai:open-archive.highwire.org:screen:54/1/20</identifier><datestamp>2013-03-08</datestamp><setSpec>HighWire</setSpec><setSpec>OUP</setSpec><setSpec>screen:54:1</setSpec></header><metadata>
<oai_dc:dc xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/"
           xmlns:dc="http://purl.org/dc/elements/1.1/"
           xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
           xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/ http://www.openarchives.org/OAI/2.0/oai_dc.xsd">
<dc:title>Archives analog and digital: Errol Morris and documentary film in the digital age</dc:title>
<dc:creator>Fallon, Kris</dc:creator>
<dc:subject>ARTICLES</dc:subject>
<dc:description> Over the past two decades, documentary film has become an entirely digital medium, and yet the significance of this change has gone largely unnoticed by both audiences and academics, in part because documentary&apos;s status as a digital medium often fades into the background as a mere fact of its production or distribution. The work of Errol Morris offers an exception in that two of his recent projects, 2003&#8242;s &lt;it&gt;The Fog of War&lt;/it&gt; and 2008&apos;s &lt;it&gt;Standard Operating Procedure&lt;/it&gt;, offer extended meditations on the nature of digital media. Morris himself, moreover, has become something of a digital provocateur through his blog, his website and his use of Twitter. Through a close reading of both films, this essay demonstrates the centrality of digital media in the form and content of each. While the archival material that occupies nearly as much screen space as Robert McNamara in &lt;it&gt;The Fog of War&lt;/it&gt; is largely analog in nature, I show that Morris uses digital effects to offer a reflexive critique of the instrumental rationality that gave birth to the digital age itself. Animating the archive through digital means, the film offers a subtle, damning critique of the man referred to as &#8216;the IBM machine with legs&#8217;. While the issues of truth and digital media are more overtly explored in &lt;it&gt;Standard Operating Procedure&lt;/it&gt;, I tie the film and its treatment of the Abu Ghraib images to the field of database aesthetics in order to unpack its complicated and controversial exploration of historical truth and digital photography. </dc:description>
<dc:publisher>Oxford University Press</dc:publisher>
<dc:date>2013-03-01 00:00:00.0</dc:date>
<dc:type>TEXT</dc:type>
<dc:format>text/html</dc:format>
<dc:identifier>http://screen.oxfordjournals.org/cgi/content/short/54/1/20</dc:identifier>
<dc:identifier>http://dx.doi.org/10.1093/screen/hjs067</dc:identifier>
<dc:language>en</dc:language>
<dc:rights>Copyright (C) 2013, John Logie Baird Centre</dc:rights>
</oai_dc:dc>
</metadata></record>
<record><header><identifier>oai:open-archive.highwire.org:screen:54/1/44</identifier><datestamp>2013-03-08</datestamp><setSpec>HighWire</setSpec><setSpec>OUP</setSpec><setSpec>screen:54:1</setSpec></header><metadata>
<oai_dc:dc xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/"
           xmlns:dc="http://purl.org/dc/elements/1.1/"
           xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
           xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/ http://www.openarchives.org/OAI/2.0/oai_dc.xsd">
<dc:title>Soldiers as filmmakers: on the prospect of &apos;shooting war&apos; and the question of ethical spectatorship</dc:title>
<dc:creator>Hochberg, Gil</dc:creator>
<dc:subject>ARTICLES</dc:subject>
<dc:description> This essay engages two recent Israeli films, &lt;it&gt;Vals im Bashir&lt;/it&gt;/&lt;it&gt;Waltz with Bashir&lt;/it&gt; (Ari Folman, 2008) and &lt;it&gt;Levanon&lt;/it&gt;/&lt;it&gt;Lebanon&lt;/it&gt; (Samuel Maoz, 2009), in an attempt to negotiate the bumpy terrain of what &#8216;ethical spectatorship&#8217; might mean in the context of watching war films. My attempt to delineate this critical stance is inspired by, and in dialogue with, the writings of many other critics who have, over the past several years, redirected our analysis of (film) spectatorship from its earlier configurations to terms restricted to pleasure, fetish, and voyeurism in considering the ethical possibilities (and limitations) associated with the acts of looking and filming. &lt;br&gt;Taking the lead from Freud&apos;s &lt;it&gt;Beyond the Pleasure Principle&lt;/it&gt; (1917), I advance a reading of combat trauma in terms of a &#8216;failed witnessing&#8217; or a &#8216;momentary blindness,&#8217; further suggesting that we read the visual narratives of &lt;it&gt;Waltz with Bashir&lt;/it&gt; and &lt;it&gt;Lebanon&lt;/it&gt; as two different cinematic articulations of such a failure to see (on time). As a second step, the essay ponders the ethical position associated with the scopic relationship generated in and through these films (between perpetrator and victim and also between spectators of the films and the historical subjects portrayed within them). Specifically, I ask: What does it mean to render visible one&apos;s own trauma, understood as a failure to see? And what, if any, ethical position of spectatorship can be modeled on the witnessing of such failed vision? </dc:description>
<dc:publisher>Oxford University Press</dc:publisher>
<dc:date>2013-03-01 00:00:00.0</dc:date>
<dc:type>TEXT</dc:type>
<dc:format>text/html</dc:format>
<dc:identifier>http://screen.oxfordjournals.org/cgi/content/short/54/1/44</dc:identifier>
<dc:identifier>http://dx.doi.org/10.1093/screen/hjs066</dc:identifier>
<dc:language>en</dc:language>
<dc:rights>Copyright (C) 2013, John Logie Baird Centre</dc:rights>
</oai_dc:dc>
</metadata></record>
<record><header><identifier>oai:open-archive.highwire.org:screen:54/1/82</identifier><datestamp>2013-03-08</datestamp><setSpec>HighWire</setSpec><setSpec>OUP</setSpec><setSpec>screen:54:1</setSpec></header><metadata>
<oai_dc:dc xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/"
           xmlns:dc="http://purl.org/dc/elements/1.1/"
           xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
           xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/ http://www.openarchives.org/OAI/2.0/oai_dc.xsd">
<dc:title>Memorialization, melancholia and melancholizing in Shaw Brothers&apos; fengyue (erotic) films</dc:title>
<dc:creator>Tan, See Kam</dc:creator>
<dc:subject>ARTICLES</dc:subject>
<dc:description> This paper opens a new chapter to extant studies of fengyuepian by looking closely at &lt;it&gt;Ai Nu&lt;/it&gt;/&lt;it&gt;Intimate Confessions of a Chinese Courtesan&lt;/it&gt; (1972) and &lt;it&gt;Ai Nu xinzhuang&lt;/it&gt;/&lt;it&gt;Lust for Love of a Chinese Courtesan&lt;/it&gt; (1984) with respect to three main themes, female homoeroticism, memorialization and melancholizing, discussing them in relation to the master&#8211;slave imaginary that structures the films&#8217; respective plots. Popularized by Shaw Brothers, &lt;it&gt;fengyuepian&lt;/it&gt; are, to put it simply, erotic films in which sexual acts and desires are overtly presented. My essay firstly characterizes the female homoerotic imaginary in the two &lt;it&gt;fengyuepian&lt;/it&gt;, or for that matter, the films themselves, as both part of and yet apart from a queer-&lt;it&gt;tongzhi&lt;/it&gt; consciousness. In a related way, it then explores two distinct modes of non-depressive melancholias in the films. With regard to the former, it argues that the film&apos;s memorial and melancholizing modes of articulation yield analeptic turns that drive affective abreaction, bridging the past and present in symbiotic and transformative ways. Here the film&apos;s theme of revenge, an affect of solipsistic melancholia or actional melancholizing, is most telling. There is no revenge theme in the later film which manifests contemplative melancholizing at a communal level. This mode of non-depressive melancholia, I shall argue, prepares the analeptic grounds for allegorical transformation that turns up undercurrents of anxiety about self-identity and self-determination that connect with the political concerns of its time. </dc:description>
<dc:publisher>Oxford University Press</dc:publisher>
<dc:date>2013-03-01 00:00:00.0</dc:date>
<dc:type>TEXT</dc:type>
<dc:format>text/html</dc:format>
<dc:identifier>http://screen.oxfordjournals.org/cgi/content/short/54/1/82</dc:identifier>
<dc:identifier>http://dx.doi.org/10.1093/screen/hjs064</dc:identifier>
<dc:language>en</dc:language>
<dc:rights>Copyright (C) 2013, John Logie Baird Centre</dc:rights>
</oai_dc:dc>
</metadata></record>
<record><header><identifier>oai:open-archive.highwire.org:screen:54/1/62</identifier><datestamp>2013-03-08</datestamp><setSpec>HighWire</setSpec><setSpec>OUP</setSpec><setSpec>screen:54:1</setSpec></header><metadata>
<oai_dc:dc xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/"
           xmlns:dc="http://purl.org/dc/elements/1.1/"
           xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
           xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/ http://www.openarchives.org/OAI/2.0/oai_dc.xsd">
<dc:title>Default cinema: queering economic crisis in Argentina and beyond</dc:title>
<dc:creator>Galt, Rosalind</dc:creator>
<dc:subject>ARTICLES</dc:subject>
<dc:description> The last two Cannes Palme d&apos;Or winners suggest a battle in contemporary world cinema between a heteronormative aesthetic (Terence Malick) and a queer sensibility (Apichatpong Weerasethakul). I argue that directors like Apichatpong and Lucretia Martel exemplify a significant mode of queer worldliness. Whereas world cinema as a concept is often considered in terms of geopolitics, this focus can obscure the ways that recent queer cinema troubles categories of transnational meaning, staging refusals of the neoliberal world order. To propose a queer world cinema does not simply replace categories of geopolitics with those of sexuality but demands that we read these categories as mutually imbricated. This essay locates queer critique in the context of New Argentine Cinema, a movement legible within discourses of world cinema and the global economic crisis. Scholars have analyzed the links between the NAC and the Argentine crisis of 2001, but Diego Lerman&apos;s &lt;it&gt;Tan de repente&lt;/it&gt;/&lt;it&gt;Suddenly&lt;/it&gt; (2002) is barely mentioned in this work: its queer narrative is invisible in the context of &#8216;crisis cinema&#8217;. Here, I argue that queer textuality provides a radical mode of articulating economic refusal. The film refuses the common NAC strategies of neo-neorealist representation and of allegory (in Edelman&apos;s terms, a queer refusal of meaning). Instead, I analyze it in terms of slowness, non-productivity and queer affect. Finally, I argue that &lt;it&gt;Tan de repente&lt;/it&gt; presents a default cinema: a cinema of queer refusal that emerges as a gesture of non-productive dissent in an age of sovereign default. </dc:description>
<dc:publisher>Oxford University Press</dc:publisher>
<dc:date>2013-03-01 00:00:00.0</dc:date>
<dc:type>TEXT</dc:type>
<dc:format>text/html</dc:format>
<dc:identifier>http://screen.oxfordjournals.org/cgi/content/short/54/1/62</dc:identifier>
<dc:identifier>http://dx.doi.org/10.1093/screen/hjs068</dc:identifier>
<dc:language>en</dc:language>
<dc:rights>Copyright (C) 2013, John Logie Baird Centre</dc:rights>
</oai_dc:dc>
</metadata></record>
<record><header><identifier>oai:open-archive.highwire.org:geront:26/Special_Issue/1</identifier><datestamp>2013-05-15</datestamp><setSpec>HighWire</setSpec><setSpec>OUP</setSpec><setSpec>geront:26:Special_Issue</setSpec></header><metadata>
<oai_dc:dc xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/"
           xmlns:dc="http://purl.org/dc/elements/1.1/"
           xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
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<dc:title>Program</dc:title>
<dc:subject>Articles</dc:subject>
<dc:publisher>Oxford University Press</dc:publisher>
<dc:date>1986-10-01 00:00:00.0</dc:date>
<dc:type>TEXT</dc:type>
<dc:format>text/html</dc:format>
<dc:identifier>http://gerontologist.oxfordjournals.org/cgi/content/short/26/Special_Issue/1</dc:identifier>
<dc:identifier>http://dx.doi.org/10.1093/geront/26.Special_Issue.1</dc:identifier>
<dc:language>en</dc:language>
<dc:rights>Copyright (C) 1986, The Gerontological Society of America</dc:rights>
</oai_dc:dc>
</metadata></record>
<record><header><identifier>oai:open-archive.highwire.org:geront:26/Special_Issue/1A</identifier><datestamp>2013-05-15</datestamp><setSpec>HighWire</setSpec><setSpec>OUP</setSpec><setSpec>geront:26:Special_Issue</setSpec></header><metadata>
<oai_dc:dc xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/"
           xmlns:dc="http://purl.org/dc/elements/1.1/"
           xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
           xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/ http://www.openarchives.org/OAI/2.0/oai_dc.xsd">
<dc:title>Abstracts</dc:title>
<dc:subject>Abstracts</dc:subject>
<dc:publisher>Oxford University Press</dc:publisher>
<dc:date>1986-10-01 00:00:00.0</dc:date>
<dc:type>TEXT</dc:type>
<dc:format>text/html</dc:format>
<dc:identifier>http://gerontologist.oxfordjournals.org/cgi/content/short/26/Special_Issue/1A</dc:identifier>
<dc:identifier>http://dx.doi.org/10.1093/geront/26.Special_Issue.1A</dc:identifier>
<dc:language>en</dc:language>
<dc:rights>Copyright (C) 1986, The Gerontological Society of America</dc:rights>
</oai_dc:dc>
</metadata></record>
<record><header><identifier>oai:open-archive.highwire.org:geront:26/Special_Issue/272A</identifier><datestamp>2013-05-15</datestamp><setSpec>HighWire</setSpec><setSpec>OUP</setSpec><setSpec>geront:26:Special_Issue</setSpec></header><metadata>
<oai_dc:dc xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/"
           xmlns:dc="http://purl.org/dc/elements/1.1/"
           xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
           xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/ http://www.openarchives.org/OAI/2.0/oai_dc.xsd">
<dc:title>Index of Participants</dc:title>
<dc:subject>Index of Participants</dc:subject>
<dc:publisher>Oxford University Press</dc:publisher>
<dc:date>1986-10-01 00:00:00.0</dc:date>
<dc:type>TEXT</dc:type>
<dc:format>text/html</dc:format>
<dc:identifier>http://gerontologist.oxfordjournals.org/cgi/content/short/26/Special_Issue/272A</dc:identifier>
<dc:identifier>http://dx.doi.org/10.1093/geront/26.Special_Issue.272A</dc:identifier>
<dc:language>en</dc:language>
<dc:rights>Copyright (C) 1986, The Gerontological Society of America</dc:rights>
</oai_dc:dc>
</metadata></record>
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