Screen

Articles

Helen Piper

Reality TV, Wife Swap and the drama of banality
Screen 2004 45: 273-286; doi:10.1093/screen/45.4.273 [Request Permissions]  

Robert Miklitsch

Audiophilia: audiovisual pleasure and narrative cinema in Jackie Brown
Screen 2004 45: 287-304; doi:10.1093/screen/45.4.287 [Request Permissions]  

Asuman Suner

Horror of a different kind: dissonant voices of the new Turkish cinema
Screen 2004 45: 305-323; doi:10.1093/screen/45.4.305 [Request Permissions]  

Catherine Fowler

Room for experiment: gallery films and vertical time from Maya Deren to Eija Liisa Ahtila
Screen 2004 45: 324-343; doi:10.1093/screen/45.4.324 [Request Permissions]  

Paul Grainge

Branding Hollywood: studio logos and the aesthetics of memory and hype
Screen 2004 45: 344-362; doi:10.1093/screen/45.4.344 [Request Permissions]  

Sarah Street

Introduction
Screen 2004 45: 363-366; doi:10.1093/screen/45.4.363 [Request Permissions]  

Laurie Ede

Capital and creativity: some notes on the British film art director of the 1940s
Screen 2004 45: 367-374; doi:10.1093/screen/45.4.367 [Request Permissions]  

Ben McCann

‘A discreet character?’ Action spaces and architectural specificity in French poetic realist cinema
Screen 2004 45: 375-382; doi:10.1093/screen/45.4.375 [Request Permissions]  

Damian Sutton

The DreamWorks effect: the case for studying the ideology of production design
Screen 2004 45: 383-390; doi:10.1093/screen/45.4.383 [Request Permissions]  

Caroline Bainbridge

The trauma debate: Just looking? Traumatic affect, film form and spectatorship in the work of Lars von Trier
Screen 2004 45: 391-400; doi:10.1093/screen/45.4.391 [Request Permissions]  

Anita Biressi

Inside/out: private trauma and public knowledge in true crime documentary
Screen 2004 45: 401-412; doi:10.1093/screen/45.4.401 [Request Permissions]  

Heather Nunn

Errol Morris: documentary as psychic drama
Screen 2004 45: 413-422; doi:10.1093/screen/45.4.413 [Request Permissions]  

Amanda D. Lotz

Using ‘network’ theory in the postnetwork era: fictional 9/11 US television discourse as a ‘cultural forum’
Screen 2004 45: 423-439; doi:10.1093/screen/45.4.423 [Request Permissions]  

A.L. Rees

Review: Film Art Phenomena • Review: The Undercut Reader: Critical Writings on Artists' Film and Video • Review: Experimental Cinema: the Film Reader (In Focus: Routledge Film Readers Series)
Screen 2004 45: 440-446; doi:10.1093/screen/45.4.440 [Request Permissions]  

Robert Murphy

Review: The British Working Class in Postwar Film • Review: British Cinema of the 1950s: the Decline of Deference
Screen 2004 45: 447-451; doi:10.1093/screen/45.4.447 [Request Permissions]  

Charlene Regester

Review: Disintegrating the Musical: Black Performance and American Musical Film
Screen 2004 45: 452-456; doi:10.1093/screen/45.4.452 [Request Permissions]  

Daniel Barratt

Review: Film Structure and the Emotion System
Screen 2004 45: 457-460; doi:10.1093/screen/45.4.457 [Request Permissions]  

Bruce Bennett

Review: The Emergence of Cinematic Time: Modernity, Contingency, the Archive
Screen 2004 45: 461-466; doi:10.1093/screen/45.4.461 [Request Permissions]  

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