Citation: Js. Turner, Collapsing the interior/exterior distinction: Surveillance, spectacle, andsuspense in popular cinema, WIDE ANGLE, 20(4), 1998, pp. 93-123
Citation: J. Lerner et C. Arnwine, Cityscapes II: Introduction (An exploration of film and video in relation to architecture and urban space), WIDE ANGLE, 20(3), 1998, pp. 1
Citation: P. Virilio, Dromoscopy, or the ecstasy of enormities (The new consciousness transformed by the speed of automobile travel), WIDE ANGLE, 20(3), 1998, pp. 10-22
Citation: De. James, Toward a geo-cinematic hermeneutics: Representations of Los-Angeles in non-industrial cinema - 'Killer of Sheep' and 'Water and Power' (A comparison of films by Charles1Burnett and Pat O'Neill), WIDE ANGLE, 20(3), 1998, pp. 23-53
Citation: R. Gonzalez et al., ALARMA's Manifest(o) destiny (A 33-point plan celebrating kitsch in the phantom culture of Chicano Los-Angeles), WIDE ANGLE, 20(3), 1998, pp. 79-83
Citation: We. Jones, 'Massillon' (A selection of frames from the film, accompanied by a selection from the voiceover), WIDE ANGLE, 20(3), 1998, pp. 150-155
Citation: K. Voss, Replacing LA; 'Mi Familia', 'Devil In a Blue Dress', and screening the other Los-Angeles (2 recent films that reconstitute the racial landscape of East LA and South Central prior to the 'hood), WIDE ANGLE, 20(3), 1998, pp. 156-181
Citation: E. Zilberg, 'Falling Down' in El 'Norte': A cultural politics & spatial poetics of theReLatinization of Los-Angeles, WIDE ANGLE, 20(3), 1998, pp. 182-209
Citation: M. Dear et G. Leclerc, Tijuana desenmascarada (Locating the US-Mexico border in silent-era "greaser films" and along Venice-Beach's arcaded boardwalks), WIDE ANGLE, 20(3), 1998, pp. 210-221
Citation: T. Gunning, FROM THE KALEIDOSCOPE TO THE X-RAY - URBAN SPECTATORSHIP, POE, BENJAMIN, AND 'TRAFFIC IN SOULS' (1913), Wide angle, 19(4), 1997, pp. 25-61
Citation: E. Dimendberg, FROM BERLIN TO BUNKER-HILL - URBAN SPACE, LATE MODERNITY, AND FILM-NOIR IN LANG,FRITZ AND LOSEY,JOSEPH 'M', Wide angle, 19(4), 1997, pp. 62-93