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Reviews

Ina Bertrand reviews Raymond Longford’s The Sentimental Bloke: The Restored Version, Madman/NFSA/ATOM, 2009.

Ina Bertrand reviews Kathryn H. Fuller-Seeley (ed.), Hollywood in the Neighbourhood: Historical Case Studies of Local Moviegoing.

Nathalie Brillon reviews Jane Mills, Loving and Hating Hollywood: Reframing Global and Local Cinemas.

Adam Broinowski reviews Sabine Nessel, Winfried Pauleit, Christine Rüffert (eds), Wort und Fleisch: Kino zwischen Text und Körper.

Rachael Cameron reviews André Gaudreault, From Plato to Lumière: Narration and Monstration in Literature and Cinema.

Ryan Cook reviews Matthew H. Bernstein, Screening a Lynching: The Leo Frank Case on Film and Television.

Maura Edmond reviews Jacob Smith, Vocal Tracks: Performance and Sound Media.

Victor Fan reviews Pak Tong Cheuk, Hong Kong New Wave Cinema (1978-2000).

Mike Fleming reviews The Encyclopedia of British Film (Third Edition).

Freda Freiberg reviews Alexander Jacoby, A Critical Handbook of Japanese Film Directors: From the Silent Era to the Present Day, and Aaron Gerow, A Page of Madness: Cinema and Modernity in 1920s Japan.

Gin Chee Tong reviews Brooke Erin Duffy and Joseph Turow (eds), Key Readings in Media Today: Mass Communication in Contexts.

Frances Guerin reviews Kristen Whissel, Picturing American Modernity: Traffic, Technology, and the Silent Cinema.

Alexandra Heller-Nicholas reviews Barry Curtis, Dark Places: The Haunted House in Film.

Roger Hillman reviews Mark Betz, Beyond the Subtitle: Remapping European Art Cinema.

Jan-Christopher Horak reviews Rob King, The Fun Factory: The Keystone Film Company and the Emergence of Mass Culture.

Irene Javors reviews Joe McElhaney, Albert Maysles.

D.B. Jones reviews Philip Gillett, Movie Greats: A Critical Study of Classic Cinema.

Harry Kirchner reviews Steven Maras, Screenwriting: History, Theory and Practice.

Roger Macy reviews Bert Cardullo, Out of Asia: The Films of Akira Kurosawa, Satyajit Ray, Abbas Kiraostami, and Zhang Yimou; Essays and Interviews.

Harriet Margolis reviews Gönül Dönmez-Colin, Turkish Cinema: Identity, Distance and Belonging.

Harriet Margolis reviews Deb Verhoeven, Jane Campion.

Craig Martin reviews Tony Shaw, Hollywood’s Cold War.

Josh Nelson reviews Roger Ebert, Scorsese by Ebert.

Violeta Politoff reviews Joanna Page, Crisis and Capitalism in Contemporary Argentine Cinema.

Thomas Redwood reviews Michel Ciment, Film World: Interviews with Cinema’s Leading Directors.

Christopher Rowe reviews Jane Stadler with Kelly McWilliam, Screen Media: Analysing Film and Television.

Kirsten Stevens reviews Dina Iordanova with Ragan Rhyne (eds), Film Festival Yearbook 1: The Festival Circuit.

Jay Daniel Thompson reviews Amit Sarwal and Reema Sarwal (eds), Creative Nation: Australian Cinema and Cultural Studies Reader.

Mike Walsh reviews Michael Ingham, Johnnie To Kei-fung’s PTU.

Mike Walsh reviews Joe McElhaney (ed.), Vincente Minnelli: The Art of Entertainment.

Mike Walsh reviews Catherine Russell, The Cinema of Naruse Mikio: Women and Japanese Modernity.

Tony Williams reviews Stella Hockenhull, Neo-Romantic Landscapes: An Aesthetic Approach to the Films of Powell and Pressburger.

Janice Yu reviews Jane Blocker, Seeing Witness: Visuality and the Ethics of Testimony.