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Robert Arnett Casino Royale and Franchise Remix: James Bond as Superhero Robert Arnett is associate professor in the Department of Communication and Theatre Arts at Old Dominion University. He was published in Journal of Popular Film and Television, Quarterly Review of Film and Video, and Creative Screenwriting. He is currently working on a screenplay about the Navajo working as movie extras.
Amanda Kane Rooks Sexual Consciousness and the "New" Lady Chatterly Amanda Kane Rooks teaches high school English and history on the Central Queensland coast of Australia. Her work has appeared in or has been accepted at Literature/Film Quarterly, Antipodes, and LiNQ. She is completing a Masters at Central Queensland University, where her current research is focused on feminst thematics in contemporary Australian fiction. James Kendrick Razors in the Dreamscape: Revisitng A Nightmare Elm Street and the Slasher Film James Kendrick is an assistant professor in the Department of Communication Studies at Baylor University. He is the author of two books, Hollywood Bloodshed: Violence in 1980's American Cinema (2009) and Film Violence: History, Ideology, Genre (2009), and his articles have appeared in Journal of Popular Film and Television and The Velvet Light Trap. He is also the resident film critic at QNetwork.com
Eric Doise Unorthodox Iconography: Russian Orthodox Icons in Battleship Potemkin Eric Doise is a doctoral candidate in American Literature at the University of Florida. He is currently completing his dissertation on testimonial fiction.
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The term "reboot" has been employed to describe re-starting a film franchise; however, the more accurate term should be "remix." With Casino Royale, the producers sample the transmediated mythos of James Bond and transform the franchise into something new. The remixed Casino Royale, like remixed music, acknowledges previous iterations but claims its own autonomy. While demonstrating how the remix of Bond works on multiple levels (e.g., corporate, narrative, visual), the essay argues that much of what guides the remix brings the Bond franchise in alignment with the other successful movie cycle, the superhero franchise.
Although frequently categorized
with other slasher films of the 1980s, Wes Craven's A Nightmare on
Elm Street both affirms and undermines several of the structural
components of the slasher subgenre, resulting in intriguing ideological
consequences in terms of gender, identification, the gaze, and monstrosity.
In conflating elements of the slasher and possession subgenres, Craven
created a unique interstitial text that also allowed him to extend his
thematic preoccupations with violence as a destructive cycle and the
thin line between civilization and savagery..
Studies of Sergei Eisenstein’s use of iconography tend to focus on Ivan the Terrible or October. This essay seeks to fill a void by investigating his incorporation of Russian Orthodox iconography in Battleship Potemkin. By borrowing conventional poses, clothing, and uses of light from the religious art form, the director attempts to transfer the audience's emotional attachment from religious figures to revolutionaries but in doing so forges a connection between Communism and religion that threatens to reinforce the very mode of thinking Eisenstein hopes to undermine.
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Festivals The 59th International Berlin Film Festival: Documentaries Rule by Gerd Gemünden
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Book Reviews Jon Lewis and Eric Smoodin, eds., Looking Past the Screen: Case Studies in American Film History and Mothod by Shayne D. Pepper Robin Blaetz, ed., Women's Experimental Cinema: Critical Frameworks by Catherine Clepper
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