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MFJ No. 4/5 (Summer/Fall 1979) – Politics/Landscape

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      • Arthur, Paul, “Structural Film: Revisions, New Versions, and the Artifact Part Two,” pp. 122-34.
      • Balazs, Bela, “Build An International Union of Revolutionary Cinema,” trans. Mel Gordon, pp. 7-13.
      • Bartone, Richard, “The Forms of Repetition: Larry Gottheim’s Four Shadows,” pp. 167-71.
      • Biro, Yvette, “Landscape During the Battle,” pp. 117-21.
      • Boddy, William and Jonathan Buchsbaum, “Cinema in Revolt: Newsreel,” pp. 43-52.
      • Brinckmann, Christine Noll and Grahame Weinbren, “The O’Neill Landscape: Four Scenes from Foregrounds,” pp. 101-16.
      • Carroll, Noel, “Avant-Garde Film and Film Theory,” pp. 135-43.
      • Cohen, Phoebe, “Brakhage’s Sincerity III,” pp. 153-56.
      • Dozoretz, Wendy, “Robert Nelson’s Suite California Stops and Passes,” pp.160-63.
      • Estevez, Sue Ann, “Bruce Baillie’s Roslyn Romance (Is It Really True?),” pp. 164-66.
      • Friedberg, Anne, “Misconception=The Division of Labor in The Childbirth Film,” pp. 64-70.
      • Friedman, Lester D., “An Interview with Peter Wollen and Laura Mulvey on Riddles of the Sphinx,” pp. 14-32.
      • Gordon, Mel, “German Workers’ Films 1919-32: Some Thoughts About the Red Front in Film,” pp. 5-6.
      • Gottheim, Larry, “Sticking in/to the Landscape,” pp. 84-92.
      • Grindon, Leger, “The Films of Peter Hutton,” pp. 175-78.
      • Hanlon, Lindley, “Arson: A Review of Otherwise Unexplained Fires by Hollis Frampton,” pp. 157-59.
      • James, David, “Towards a Radical, Popular Cinema: Two Recent Films by Jon Jost,” pp. 71-83.
      • Kelly, Keith, “Notes for Jerome,” pp. 172-74.
      • Peterson, Richard, “The Films of Linda Klosky,” pp. 179-83.
      • Simon, Bill, “A Completely Open Space: Michael Snow’s La Region Centrale,” pp. 93-100.
      • Simon, Elena Pinto, “Robert Breer’s LMNO,” pp. 184-86.
      • Stam, Robert, “Brazilian Avant-Garde Cinema from Limite to Red Light Bandit,” pp. 33-42.
      • Tartaglia, Jerry, “The Gay Sensibility in American Avant-Garde Film,” pp. 53-58.
      • Taubin, Amy, “And what is a fact anyway? (On a Tape by Martha Rosler),” pp. 59-63.
      • Ward, Melinda, “Independent Film in Minneapolis/St. Paul,” pp. 144-52.
      • Weinbren, Grahame and Christine Noll Brinckmann, “The O’Neill Landscape: Four Scenes from Foregrounds,” pp. 101-16.[/column]
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