Explores the rhetorical factors which underlie this British film's extraordinary popularity with American audiences. Argues that the rhetorical force of the film comes from the struggle between moralism and materialism, two aspects of the American Dream, thus providing a uniquely powerful American experience. (PD)

This book examines the unique patterns and structure that make cinema a story-telling art form. A comparison of books or plays with films that have been made from them reveals the essence of cinema: its emphasis on movement, fluidity, and pictorial image. Excerpts from shooting scripts demonstrate the ways in which the components of drama…

Examines the structural patterns of literature suggested by Steven Spielberg's film, "E.T.: The Extra-Terrestrial," and how these patterns are reflected in children's stories. (HOD)

Approaches film criticism using classical and modern rhetorical concepts. Discusses the nature and effectiveness of the filmmaker's modes of appeal--to logos, pathos, and ethos, and the appropriateness of his/her rhetorical stance--the balance of attitudes toward subject, audience, and his/her creative self. (JMF)

Examines several films of Francois Truffaut. (RB)

Rejects the thesis that an uncanny matchup of literary characters with their visual doubles made "The Maltese Falcon" a success. (RB)

Analyzes how Hollywood's journalism movie genre has portrayed the news media over the years. Suggests that the movies' relationship to the press reflects a fundamentally ambivalent relationship between the press and the broader culture and that Hollywood explicitly portrays institutional and cultural tensions within journalism which the news media…

Explains how the movie "The Lion King" may be used to elucidate Shakespeare's "Hamlet," a play about a prince who does not always seem heroic to modern audiences. Gives specific points of comparison between the two works concerning heroes, characters, conflicts, themes, ending scenes, and archetypal patterns. (TB)

Explores the prevalence of the gunfighter as mythic hero. Compares the depictions of Clint Eastwood's characters from the beginning of Eastwood's career ("A Fistful of Dollars" and "Pale Rider") to "Unforgiven," finding similarities and differences in each character. (PA)

Presents a brief history of "Cabaret" and analyzes the cinematic version for character changes which differ from the story originally written by Christopher Isherwood. (RB)

Analyzes the difficulty of adapting Faulkner's "Sanctuary" to film, concluding that a genuine work of art, conceived in one medium, resists being transferred to another art form. (RB)

Discusses the controversy surrounding Ken Russell's interpretations of the materials on which he bases his films. (RB)

Analyzes similarities and differences between Henry Fonda's character Colonel Thursday in John Ford's "Fort Apache" and the historical figure of General George Armstrong Custer. States that historical parallels between Thursday's military defeat and Custer's are, for the most part, fairly obvious. (PA)

Supplements the idea of the realistic spy story as reflector of modern problems with a theory of its meaning or a "metaphysics" of the genre. Available from: Thomas L. Erskine, Co-Editor; Literature/Film Quarterly, Salisbury State College, Salisbury, Maryland 21801, Subscription Rates: individuals, $6.00; students, $5.00; single copies, $2.00. (MH)