Keyframes introduces the study of popular cinema of Hollywood and beyond and responds to the transformative effect of cultural studies on film studies.
The contributors rethink contemporary film culture using ideas and concerns from feminism, queer theory, 'race' studies, critiques of nationalism, colonialism and post-colonialism, the cultural economies of fandom, spectator theory, and Marxism. Combining a film studies focus on the film industry, production and technology with a cultural studies analysis of consumption and audiences, Keframes demonstrates the breadth of approaches now available for understanding popular cinema. Subjects addressed include:
* Studying Ripley and the 'Alien' films
* Pedagogy and Political Correctness in Martial Arts cinema
* Judy Garland fandom on the net
* Stardom and serial fantasies: Thomas Harris's 'Hannibal'
* Tom Hanks and the globalization of stars
* Queer Bollywood
* Jackie Chan and the Black connection
* '12 Monkeys', postmodernism and urban space.

chapter |30 pages


part |2 pages

Part I Woman as inter/national sign

chapter |2 pages


chapter 1|17 pages

“You’ve been in my life so long I can’t remember anything else”

Into the labyrinth with Ripley and the Alien
ByPamela Church Gibson

chapter 2|20 pages

Warrior Marks

Global womanism’s neo-colonial discourse in a multicultural context
ByInderpal Grewal, Caren Kaplan

chapter 3|10 pages

“Daddy, where’s the FBI warning?”

Constructing the video spectator
ByIna Rae Hark

chapter 4|16 pages

Romance and/as tourism

Heritage whiteness and the (inter)national imaginary in the new woman’s film
ByDiane Negra

chapter 5|17 pages

Race as spectacle, feminism as alibi

Representing the civil rights era in the 1990s
BySharon Willis

part |2 pages

Part II New constellations: stars

chapter |2 pages


chapter 6|18 pages

Judy on the net

Judy Garland fandom and “the gay thing” revisited
BySteven Cohan

chapter 7|22 pages

Jackie Chan and the black connection

ByGina Marchetti

chapter 8|12 pages

Stardom and serial fantasies

Thomas Harris’s Hannibal
ByLinda Mizejewski

chapter 9|16 pages

Learning from Bruce Lee

Pedagogy and political correctness in martial arts cinema
ByMeaghan Morris

chapter 10|16 pages

“Waas sappening?”: narrative structure and iconography in Born in East L.A

Narrative structure and iconography in Born in East L.A.
ByChon A. Noriega

part |2 pages

Part III Moving desires

chapter |2 pages


chapter 11|21 pages

The voice of pornography: tracking the subject through the sonic spaces of gay male moving-image pornography

Tracking the subject through the sonic spaces of gay male moving- image pornography
ByRich Cante, Angelo Restivo

chapter 12|14 pages

Nostalgia of the new wave: structure in Wong Kar-wai’s Happy Together

Structure in Wong Kar-wai’s
ByHappy Together Rey Chow

chapter 13|17 pages

Mario Lanza and the “fourth world”

ByMarcia Landy

chapter 14|21 pages

Devouring creation: cannibalism, sodomy, and the scene of analysis in Suddenly, Last Summer

Cannibalism, sodomy, and the scene of analysis in Suddenly,
ByLast Summer Kevin Ohi

chapter 15|19 pages

Queer Bollywood, or “I’m the player, you’re the naive one”: patterns of sexual subversion in recent Indian popular cinema

Patterns of sexual subversion in recent Indian popular cinema Introduction: pelvic thrust, fluid terrain
ByThomas Waugh

part |2 pages

Part IV Production notes

chapter |2 pages


chapter 17|21 pages

12 Monkeys, postmodernism, and the urban

Toward a new method
ByMatthew Ruben

chapter 18|10 pages

Terminator technology

Hollywood, history, and technology
ByPaul Smith

chapter 19|16 pages

“Compulsory” viewing for every citizen: Mr. Smith

and the rhetoric of reception
BySmith Eric Smoodin

chapter 20|18 pages

Standardizing professionalism and showmanship

The performance of motion picture projectionists during the early sync-sound era
BySteve Wurtzler

chapter 21|18 pages

States of emergency

To flourish in defiance
ByPatricia R. Zimmermann