|SERCIA is pleased to announce the publication of Film Journal no. 8, Crossing Over Genres and Forms, guest-edited by Julia Echeverria and Isabelle Schmitt-Pitiot.
Download the integrated PDF version here:
Film Journal 8: Crossing over Genres and Form
Download FJ8 individual articles as follows:
Isabelle Schmitt-Pitiot and Julia Echeverria 8-13 / Introduction
Céline Murillo 14-26 / No Suture: Screen Borders in Jim Jarmusch’s Films
Fabrice Lyczba 27-38 / “Putting the Show Over”: Fade-In Prologues as Border Crossing in the Reception Space of 1920s American Film Exhibition
Nicole Cloarec 39-44 / Metaleptic Vertigo: Temporal and Generic Crossovers in The Singing Detective
Raphaëlle Costa de Beauregard 45-58 / Vincente Minelli’s Melodrama Some Came Running and the Crossing of Borders
Julie Assouly 59-69 / The Barber as an Ambivalent Americana Icon in The Man Who Wasn’t There (Coen, 2001): Crossing the Borders Between Arts and Genres
Christophe Gelly 70-78 / From Making of to “Generic Oddity”: The Case of Lost in La Mancha (Keith Fulton and Louis Pepe, 2002)
Dominique Sipière 79-86 / Sherlock Holmes Crosses Borders
Pierre Floquet 87-94 / Double Crossing Boundaries: Could Alice in Wonderland‘s Red Queen be Fictitious Within Fiction?
Laura Mason 95-97 / Review: Gemma King, Jacques Audiard (Manchester: Manchester University Press, 2021)
Harald Pittel 98-101 / Review: Zélie Asava, Mixed Race Cinemas: Multiracial Dynamics in America and France (Bloomsbury, 2019)
Anne-Lise Marin-Lamellet 102-116 / Generic confluence as the art of ideological peddling: Attack the Block (Joe Cornish, 2011)
Helen E. Mundler 117-128 / The Ninth Life of Louis Drax: from text to film
Please note that SERCIA retains copyright on all materials featured in this issue, which may not be reproduced without permission.