Citation: Bk. Urish, WALT IN WONDERLAND - THE SILENT-FILMS OF DISNEY,WALT - MERRITT,R, KAUFMAN,JB, The Journal of popular film and television, 23(2), 1995, pp. 95-95
Citation: Pn. Chumo, -TO-PUT-THE-PAST-BEHIND-YOU-BEFORE-YOU-CAN-MOVE-ON - 'FORREST GUMP' AND NATIONAL RECONCILIATION, The Journal of popular film and television, 23(1), 1995, pp. 2-7
Citation: Jr. Keller, LIKE TO A CHAOS - DEFORMITY AND DEPRAVITY IN CONTEMPORARY FILM, The Journal of popular film and television, 23(1), 1995, pp. 8-14
Citation: F. Krutnik, THE HANDSOME MAN AND HIS MONKEY - THE COMIC BONDAGE OF MARTIN,DEAN AND LEWIS,JERRY, The Journal of popular film and television, 23(1), 1995, pp. 16-25
Citation: Lk. Woal et M. Woal, THE 'GOLDEN GOD' -LABOR FILM EPIC - FIELDING,ROMAINE ALLEGORICAL REALISM( A LOST PRO), The Journal of popular film and television, 23(1), 1995, pp. 28-35
Citation: Wd. Gehring, 'HERO' -GOOD FLICKS OF THE 1930S AND 1940S - PUSHING THE CAPRA ENVELOPE( FREARS,STEPHEN 1992 FILM, RECALLING THE FEEL), The Journal of popular film and television, 23(1), 1995, pp. 36-43
Citation: Bk. Urish, WHAT MADE PISTACHIO NUTS - EARLY SOUND COMEDY AND THE VAUDEVILLE AESTHETIC - JENKINS,H, The Journal of popular film and television, 23(1), 1995, pp. 44-44
Citation: Km. Jackson, OUT OF THE GARDEN - TOYS AND CHILDRENS CULTURE IN THE AGE OF TV MARKETING - KLINE,S, The Journal of popular film and television, 23(1), 1995, pp. 44-45
Citation: Wj. Carson, FRAMING BLACKNESS - THE AFRICAN-AMERICAN IMAGE IN FILM - GUERRERO,E, The Journal of popular film and television, 23(1), 1995, pp. 45-46
Citation: G. Hoppenstand, ROMANCE AND THE YELLOW-PERIL - RACE, SEX AND DISCURSIVE STRATEGIES INHOLLYWOOD FICTION - MARCHETTI,G, The Journal of popular film and television, 23(1), 1995, pp. 45-45
Citation: Bk. Urish, I WAS INTERRUPTED - RAY,NICHOLAS ON MAKING MOVIES - RAY,N, RAY,S, The Journal of popular film and television, 23(1), 1995, pp. 46-46
Citation: Hr. Greenberg, DESIRING IMAGES - SEX AND SEXUALITY - INTRODUCTION( FILM AND GENDER ), The Journal of popular film and television, 22(4), 1995, pp. 146-148
Citation: C. Lane, THE LIMINAL ICONOGRAPHY OF FOSTER,JODIE + LESBIAN AND SEXUAL FILM ISSUES, The Journal of popular film and television, 22(4), 1995, pp. 149-153
Citation: Fg. See, SOMETHING REFLECTIVE - TECHNOLOGY AND VISUAL PLEASURE( BENTON,THOMAS,HART AND FILM ), The Journal of popular film and television, 22(4), 1995, pp. 162-171
Citation: J. Boozer, BENDING PHALLIC PATRIARCHY IN THE 'CRYING GAME' + GENDER, FILM AND SEXUALITY, The Journal of popular film and television, 22(4), 1995, pp. 172-179
Citation: F. Krutnik, THE ENTERPRISE OF SEDUCTION - SEX AND SELLING IN 'LOVER COME BACK', The Journal of popular film and television, 22(4), 1995, pp. 180-191
Citation: Ma. Hipsky, ANGLOPHIL(M)IA - WHY DOES AMERICA WATCH MERCHANT-IVORY MOVIES( ANGLOPHILIC FILMS ), The Journal of popular film and television, 22(3), 1994, pp. 98-107
Citation: N. Schulman, THE HOUSE THAT BLACK BUILT -AMERICAN HUMOR ON TELEVISION - TELEVISIONSTAND-UP-COMEDY AS MINOR DISCOURSE( AFRICAN), The Journal of popular film and television, 22(3), 1994, pp. 108-115
Citation: C. Johnson, LUCKLESS IN NEW-YORK - THE SCHLEMIEL AND THE SCHLIMAZL IN 'SEINFELD'(AMERICAN JEWISH HUMOR ON TELEVISION ), The Journal of popular film and television, 22(3), 1994, pp. 116-124