Citation: H. Kenaga, ATTACK OF THE LEADING LADIES - GENDER, SEXUALITY, AND SPECTATORSHIP IN CLASSIC HORROR CINEMA - BERENSTEIN,RJ, Historical journal of film radio and television, 17(1), 1997, pp. 156-158
Citation: R. Cormier, REPLICATIONS - A ROBOTIC HISTORY OF THE SCIENCE-FICTION FILM - TELOTTE,JP, Historical journal of film radio and television, 17(1), 1997, pp. 158-159
Citation: S. Vaughn, NEGOTIATING HOLLYWOOD - THE CULTURAL POLITICS OF ACTORS LABOR - CLARK,D, Historical journal of film radio and television, 17(1), 1997, pp. 159-160
Citation: Sl. Brinson, QUEEN OF THEBS - LUPINO,IDA BEHIND THE CAMERA - KUHN,A, Historical journal of film radio and television, 17(1), 1997, pp. 160-162
Citation: T. Schatz, WHOM GOD WISHES TO DESTROY - COPPOLA,FRANCIS AND THE NEW HOLLYWOOD - LEWIS,J, Historical journal of film radio and television, 17(1), 1997, pp. 162-163
Citation: O. Okome, CINEMAS OF THE BLACK DIASPORA - DIVERSITY, DEPENDENCE, AND OPPOSITIONALITY - MARTIN,MT, Historical journal of film radio and television, 17(1), 1997, pp. 163-164
Citation: J. Richards, FASHIONING THE NATION - COSTUME AND IDENTITY IN BRITISH CINEMA - COOK,P, Historical journal of film radio and television, 17(1), 1997, pp. 164-166
Citation: R. Sklar, REEL FAMILIES - A SOCIAL-HISTORY OF AMATEUR FILM - ZIMMERMANN,PR, Historical journal of film radio and television, 17(1), 1997, pp. 167-168
Citation: K. Kalinak, JAMMIN AT THE MARGINS - JAZZ AND THE AMERICAN CINEMA - GABBARD,K, Historical journal of film radio and television, 17(1), 1997, pp. 168-169
Citation: Jm. Welsh, UNDERSTANDING FASSBINDER,RAINER,WERNER - FILM AS PRIVATE AND PUBLIC ART - WATSON,WS, Historical journal of film radio and television, 17(1), 1997, pp. 169-170
Citation: P. Sorlin, CINEMA AND PAINTING - HOW ART IS USED IN FILM - DALLEVACCHE,A, Historical journal of film radio and television, 17(1), 1997, pp. 171-172
Citation: M. Melanco, VITAL CRISES IN ITALIAN CINEMA - ICONOGRAPHY, STYLISTICS, POLITICS - SITNEY,PA, Historical journal of film radio and television, 17(1), 1997, pp. 171-171
Citation: J. Mraz, FIELDS OF VISION - ESSAYS IN FILM STUDIES, VISUAL ANTHROPOLOGY AND PHOTOGRAPHY - DEVEREAUX,L, HILLMAN,R, Historical journal of film radio and television, 17(1), 1997, pp. 172-174
Citation: D. Dunn, REDEEMING THE WASTELAND - TELEVISION DOCUMENTARY AND COLD-WAR POLITICS - CURTIN,M, Historical journal of film radio and television, 17(1), 1997, pp. 174-175
Citation: Hc. Shulman, ELECTRONIC MAGAZINES - SOFT NEWS PROGRAMS ON NETWORK TELEVISION - SPRAGENS,WC, Historical journal of film radio and television, 17(1), 1997, pp. 175-176
Citation: T. Sakmyster, NAZI DOCUMENTARIES OF INTIMIDATION - 'FELDZUG IN POLEN' (1940), 'FEUERTAUFE' (1940) AND 'SIEG IM WESTEN' (1941), Historical journal of film radio and television, 16(4), 1996, pp. 485-514
Citation: S. Tegel, HARLAN,VEIT AND THE ORIGINS OF 'JUD SUSS', 1938-1939 - OPPORTUNISM INTHE CREATION OF NAZI ANTI-SEMITIC FILM PROPAGANDA, Historical journal of film radio and television, 16(4), 1996, pp. 515-531
Citation: J. Chapman, THE YANKS ARE SHOWN TO SUCH ADVANTAGE -WAR-II DOCUMENTARY FILM - ANGLO-AMERICAN RIVALRY IN THE PRODUCTION OF THE 'TRUE GLORY'( WORLD), Historical journal of film radio and television, 16(4), 1996, pp. 533-554
Citation: L. Cigognetti et L. Servetti, ON HER SIDE - FEMALE IMAGES IN ITALIAN CINEMA AND THE POPULAR PRESS, 1945-1955, Historical journal of film radio and television, 16(4), 1996, pp. 555-563
Citation: J. Moat, THE AILEEN-AND-MICHAEL-BALCON-SPECIAL-COLLECTION - AN INTRODUCTION TOBRITISH CINEMA HISTORY, 1929-1960( FILM ARCHIVES ), Historical journal of film radio and television, 16(4), 1996, pp. 565-575