Jonathan Demme:
A Bibliography of Materials in the UC Berkeley Library












Books
Journal Articles

Articles and Books on Individual films

Books/Videos

Bliss, Michael
What goes around comes around : the films of Jonathan Demme Carbondale : Southern Illinois University Press, c1996.
MAIN: PN1998.3.D393 B57 1996;

Gilbey, Ryan.
"Jonathan Demme." In: It don't worry me : the revolutionary American films of the seventies / Ryan Gilbey. Edition 1st American ed. New York : Faber and Faber, c2003.
Main Stack PN1993.5.U65.G55 2003
Moffitt PN1993.5.U65.G55 2003
PFA PN1993.5.U6.G55 2003

Journal Articles

Clarens, C.
"Demme monde: Jonathan Demme interviewed." Film Comment v. 16 (September/October 1980) p. 56-9

"Demme, Jonathan." Current Biography v46.(April 1985): pp9(5).

Jonathan Demme" In: Great Directors: a Critical Database. Sense of Cinema.
UC users only

Kehr, Dave
" Four Auteurs in Search of an Audience Paul Bartel, Jonathan Kaplan, George Armitage, Jonathan Demme." Film Comment 13:5 (1977:Sept./Oct.) p.6

"Righteous and Outrageous - Jonathan Demme." Monthly Film Bulletin 56:666 (1989:July) p.0
UC users only

Smith, G.
"Identity check." [interview with J. Demme]. Film Comment v. 27 (January/February 1991) p. 28-30+

Articles and Books on Individual films

Beloved

Alleva, Richard.
"Beloved." (movie reviews) Commonweal v125, n20 (Nov 20, 1998):18 (3 pages).
UC users only

Ansen, David.
"The Ghosts of Slavery. (movie reviews) Newsweek Oct 19, 1998 v132 i16 p76(1)
UC users only

Blake, Richard A.
"Free at Last." (movie reviews) America, Nov 7, 1998 p24(1)
UC users only

Crouch, Stanley.
"Beloved." (movie reviews) New York v31, n41 (Oct 26, 1998):80 (2 pages).

Davis, Natalie Zemon
Slaves on screen : film and historical vision / Natalie Zemon Davis. Cambridge, Mass. : Harvard University Press, 2000.
Main Stack PN1995.9.S557.D38 2000
Moffitt PN1995.9.S557.D38 2000

Denby, David.
"Beloved." (movie reviews) New Yorker v74, n33 (Oct 26, 1998):248 (4 pages).

Davis, Natalie Zemon
Slaves on screen : film and historical vision / Natalie Zemon Davis. Cambridge, Mass. : Harvard University Press, 2000.
Main Stack PN1995.9.S557.D38 2000
Moffitt PN1995.9.S557.D38 2000
PFA PN1995.9.S557.D38 2000

"Enough About Slavery."(the PBS "Africans in America" series and the movie
"Beloved" coverage of slavery is old news which misdirects energy that would be useful in the solving current racial problems) Time (Nov 2, 1998):56 (1 page).

Garbus, Lisa
"The unspeakable stories of Shoah and Beloved." (Cultural Violence)(motion pictures) College Literature Wntr 1999 v26 i1 p52(1)
"The films 'Beloved' by Toni Morrison 'Shoah' by Claude Lanzmann are both ideal venues for exploring the value of literature. 'Beloved' is about slavery while 'Shoah' is about the Holocaust. The importance of literature lies in the meaning of living in a world of language. The films explained this importance by tampering with the relation between language and the real. Both films brought to life the impossible and unspeakable and repeated past stories whose truths were significantly and intentionally altered to connect the past and the present to the discovery of personal identities." [Expanded Academic Index]

Hudson-Weems, Clenora.
"Beloved: From Novel to Movie." (Review) (movie review) Western Journal of Black Studies v23, n3 (Fall, 1999):203.

Jefferson, Margo.
"Beloved." (movie reviews) New York Times v148 (Mon, Oct 19, 1998):B1(N), E1(L), col 1, 23 col in.

Jefferson, Margo.
"Writing about race and walking on eggshells." (blacks and whites had different reasons for avoiding Oprah Winfrey's film "Beloved") The New York Times June 10, 1999 pB2(N) pE2(L) col 3 (35 col in)

Joyner, Will.
"Staying stubbornly true to a writer's vision; Oprah Winfrey and Jonathan Demme have made 'Beloved' a movie that will appeal to lovers of Toni Morrison's allusive, poetic novel." New York Times v148, sec2 (sun, Oct 18, 1998):AR13(L), col 1, 23 col in.

Maslin, Janet.
"Beloved." (movie reviews) New York Times v148 (sun, Oct 16, 1998):E1(L), col 1, 26 col in.

McCarthy, Todd.
"Beloved." (movie reviews) Variety v372, n8 (Oct 5, 1998):67 (2 pages).

O'Sullivan, Charlotte.
"Beloved.(Review)." Sight and Sound (March 1999): 34(4).
"Talk-show host Oprah Winfrey, who is coproducer of this film, should never have cast herself in the title role. She is very good in some scenes, but she is never startlingly overwhelming. Her emphasis on the empowering supportive spiritual female, meanwhile, unbalances the film. The film does capture, however, the theme of Toni Morrison's novel on which it is based: that once people become accustomed to slavery, freedom becomes frightening and strange. [Art Index]

Pinkerton, James P.
"A cultural salvo, not a true epic." (movie 'Beloved' focuses on victimization) Los Angeles Times (sun, Oct 15, 1998):b9, col 3, 14 col in.

Scott, Ellen C.
"The Horrors of Remembrance: The Altered Visual Aesthetic of Horror in Jonathan Demme's Beloved." Genders, vol. 40, pp. 36 paragraphs, 2004

Simon, John.
"Beloved." (movie reviews) National Review (Nov 23, 1998):59 (1 page)

Tibbetts, John C.
"Oprah's Belabored Beloved." Literature/Film Quarterly. 27 (1): 74-76. 1999

Travers, Peter.
"Beloved." (movie reviews) Rolling Stone, n798 (Oct 29, 1998):79 (2 pages).

Wilmington, Michael.
"Beloved." (movie reviews) Film Comment (Nov, 1998):79 (1 page).

Wardi, Anissa Janine.
"Freak shows, spectacles, and carnivals: reading Jonathan Demme's beloved." African American Review 39.4 (Winter 2005): 513(14).
UC users only

Wilmington, M.
"Beloved." Film Comment v. 34 no. 6 (November/December 1998) p. 79-80
"Jonathan Demme's film of Toni Morrison's Beloved mostly does justice to the novel's nuance, depth, density, and terror. It stars Oprah Winfrey as a 19th-century slave mother, who tries to kill her three children when caught trying to escape from Kentucky and is apparently successful with one, a nameless girl later buried under a headstone marked with the word "Beloved." A ghost story--perhaps--of oozing rot, cruelty, eeriness, dreadful violence, and poisonous sexuality set in a cul-de-sac of fear and delusion, Beloved's strength lies in its portrayal of the experience of slavery. Its weakness may lie in seeking to achieve too much dignity." [Art Index]

Manchurian Candidate

Alleva, Richard.
"Brain drain: 'The Manchurian Candidate'.(Screen)(Movie Review)." Commonweal 131.15 (Sept 10, 2004): 21(2).
UC users only

Amory, Mark. "Weirdness in Washington.(Movie Review)." Spectator 296.9198 (Nov 20, 2004): 66(2).
UC users only

Dalton, S.
"The Manchurian Candidate." Sight & Sound v. ns14 no. 12 (December 2004) p. 55-6
UC users only
"Defying the recent trend for mediocre remakes of movie classics, director Jonathan Demme's reimagining of the the conspiracy thriller The Manchurian Candidate is a strong and substantial work. By updating the dramatic context of the film from the Korean War to the first Gulf War and making the villains shadowy corporations instead of communist bad guys, Demme's remake taps into current affairs. Denzel Washington gives a pleasingly contained performance and Meryl Streep is terrific as Shaw's mother. Although Demme includes some visual allusions to John Frankenheimer's original film, stylistically his remake belongs to a post-MTV age of jump cuts and soundbites." [Art Index]

"Interview: Jonathan Demme discusses "The Manchurian Candidate"." All Things Considered. Washington, D.C.: Jul 29, 2004. p. 1
UC users only

Klawans, Stuart
"Bad Brains." The Nation. Aug 30-Sep 6, 2004.Vol.279, Iss. 6; pg. 40, 4 pgs

Miller, Keith.
"International fund seekers.(The Manchurian Candidate)(Movie Review)." TLS. Times Literary Supplement 5305 (Dec 3, 2004): 20(1).

Sklar, R.
"The Manchurian Candidate." Cineaste v. 30 no. 1 (Winter 2004) p. 42-4
UC users only
"A review of The Manchurian Candidate, a film directed by Jonathan Demme. A remake of a 1962 film that centered on a convoluted communist plot to take over the United States presidency through brainwashing and assassination, this film offers a nondescript mise-en-scene for its narrative action. Usually outstanding in almost any of their screen roles, the leading players, Denzel Washington, Meryl Streep, and Liev Schreiber, play their parts functionally, providing little that appears incisively personal or memorable. The particularly striking thing about this remake is that is almost completely lacks the verbal wit and visual comedy that played with and against the terrors of the 1962 version." [Art Index]

Thompson, David.
"Mind control.(The Manchurian Candidate)." Sight and Sound 14.12 (Dec 2004): 14(2).
UC users only
Jonathan Demme's "The Manchurian Candidate" criticizes the multinational corporations who profit from war. The multi-layered movie depicts the constant barrage of television coverage of political events and news reports.

Thrupkaew, Noy.
"Costume psychodramas: a new Manchurian Candidate labors under today's partisan imperatives, while a censored Iranian blockbuster mixes art and politics more deftly.(Currents)(Marmoulak)(Movie Review)." The American Prospect 15.9 (Sept 2004): 33(3).
UC users only

Wildermuth, Mark E.
"Electronic Media and the Feminine in the National Security Regime: The Manchurian Candidate before and after 9/11." Journal of Popular Film & Television, Fall2007, Vol. 35 Issue 3, p121-126, 6p,
UC users only

Married to the Mob

Carolan, Mary Ann McDonald.
"Italianamerican Women as Comic Foils: Exploding the Stereotype in My Cousin Vinny, Moonstruck, and Married to the Mob." LIT: Literature Interpretation Theory, Apr-Jun2002, Vol. 13 Issue 2, p155, 12p
UC users only

Melvin and Howard

"Melvin and Howard." The New Leader 63 (Nov 17, 1980): 18(1).

"Melvin and Howard." Sight & Sound v. 50 (Summer 1981) p. 209

"Melvin and Howard." National Review v. 33 (June 12 1981) p. 681-2

"Melvin and Howard." Rolling Stone (March 19 1981) p. 43+

"Melvin and Howard."Maclean's v. 94 (February 16 1981) p. 61-2

"Melvin and Howard." The Progressive v. 45 (January 1981) p. 48-9

"Melvin and Howard." The Nation v. 231 (November 15 1980) p. 524+

Pulleine, Tim
"Dreams that money can't buy." Sight & Sound Vol L nr 3 (Summer 1981); p 209

Philadelphia

Alleva, Richard.
"Philadelphia." (movie reviews) Commonweal v121, n4 (Feb 25, 1994): 16.
UC users only

Ansen, David.
"Philadelphia." (movie reviews) Newsweek v122, n26 (Dec 27, 1993):46.

Bowman, James.
"Philadelphia." (movie reviews) American Spectator v27, n3 (March, 1994):64 (2 pages).

Bruzzi, Stella.
"Philadelphia." (movie reviews) Sight and Sound v4, n3 (March, 1994):45 (2 pages).
"Jonathan Demme's Philadelphia marks Hollywood's belated entry into the territory of AIDS. Demme's "soft" interpretation of the issue will probably prompt the most vociferous criticism, yet there is much that makes it a progressive film. For example, its depiction of AIDS as a series of setbacks and reprieves is more realistic than the steady, romantic decline into easeful death of many past AIDS films." [Art Index]

Cante, Richard C.
'HIV, Multiculturalism, and Popular Narrativity in the United States: Afterthoughts on Philadelphia (and Beyond)." Narrative, vol. 7, no. 3, pp. 239-58, Fall 1999

Carr, Brian
"Philadelphia and the Race of 'Brotherly Love'" GLQ: A Journal of Lesbian and Gay Studies, vol. 6, no. 4, pp. 529-53, 2000
UC users only

Corber, Robert J.
"Nationalizing the Gay Body: AIDS and Sentimental Pedagogy in Philadelphia." American Literary History, vol. 15, no. 1, pp. 107-33, Spring 2003

Cunningham, Michael.
"Breaking the Silence." (Jonathan Demme tackles AIDS and homophobia in his new movie, 'Philadelphia.') Vogue v184, n1 (Jan, 1994):56 (4 pages).

Davies, Jude and Carol R. Smith.
"Philadelphia: People Like Us." In: Gender, Ethnicity and Sexuality in Contemporary American Film / Jude Davies and Carol R. Smith. pp: 138-46. Edinburgh: Keele University Press, 1997. Series title: BAAS paperbacks.
UCB Main PN1995.9.M64 D38 1997

Denby, David.
"Philadelphia." (movie reviews) New York v27, n1 (Jan 3, 1994):52 (2 pages).

Gooch, Brad.
"A Philadelphia Story." (Tom Hanks's movie) (Interview) Advocate, n644 (Dec 14, 1993):45 (7 pages).

Grundmann, Roy and Peter Sacks.
"Philadelphia." (movie reviews) Cineaste v20, n3 (Summer, 1993):51 (4 pages).
"A review of Philadelphia, directed by Jonathan Demme. The film concerns Andrew Beckett, a successful gay lawyer who claims that he was dismissed from his firm because his bosses have discovered that he has AIDS. Filing a discrimination suit against his employers, Beckett secures the counsel of attorney Joe Miller, who must confront not only Beckett's bigoted employers but also his own fear of homosexuality and AIDS. This is a predictable attempt in the tradition of films that aim to present personal narratives of prejudice and civil rights discrimination in clearly defined moral terms, yet it is different because it cannot totally denounce the social prejudice and bigotry it seeks to expose. Offered as an in-depth psychological portrait of a gay man, the film is merely a representation of a character with a deadly disease; attempting to do away with the issue of homosexuality, it refuses to invest Beckett with life, and by linking his victory with his death, the implications of the trial for the gay community are depoliticized. Ultimately, as homophobia and the fear of AIDS is still a socially pervasive and popular attitude, the film cannot make up its mind about the communities it feels obliged to champion." [Art Index]

Harty, Kevin J.
"The Failures of Jonathan Demme's Philadelphia." Four Quarters, vol. 8, no. 1, pp. 13-20, Spring 1994

Johnson, Brian D.
"Philadelphia." (movie reviews) Maclean's v106, n52 (Dec 27, 1993):61.

Kauffmann, Stanley.
"Philadelphia." (movie reviews) New Republic v210, n2-3 (Jan 10, 1994):30 (2 pages).

Klawans, Stuart.
"Philadelphia." (movie reviews) Nation v258, n1 (Jan 3, 1994):31 (2 pages).

Kraft, Ronald Mark.
"Philadelphia." (movie reviews) Advocate, n645 (Dec 28, 1993):71 (2 pages).

Lane, Anthony.
"Philadelphia." (movie reviews) New Yorker v69, n44 (Dec 27, 1993):148 (3 pages).

Moran, Leslie J.
"Heros and Brothers in Love: The Male Homosexual as Lawyer in Popular Culture." Studies in Law, Politics, and Society, 1998, 18, 3-27
"Examines the representation of homosexuality & the law, drawing on an analysis of two films, Basil Dearden's Victim (1961) & Jonathan Demme's Philadelphia (1993). It is suggested that, in both films, the main gay characters are allowed to embody the law. However, these characters obtain a paradoxical inside/outside position in relation to the law in which they serve as passing agents standing in place of the law. This is both a representation of law as masquerade & one of the gay male outside the law. The latter implies a form of civil death, best illustrated by the withering of Beckett's body in the courtroom in Philadelphia. Though these films are rare in mainstream cinema, they are important in that they portray the homosexual lawyer as hero & reveal the law as a homosocial institution. Moreover, in tackling the relationship between desire, erotics, gender, sexuality, & the law, both films presage a scholarly agenda in legal studies that has only recently emerged." [Sociological Abstracts]

Nero, Charles Isidore
"Diva Traffic and Male Bonding in Film: Teaching Opera, Learning Gender, Race, and Nation ." Camera Obscura - 56 (Volume 19, Number 2), 2004, pp. 46-73 -
UC users only

Pearson, H.
"Philadelphia." Films in Review v. 45 (March/April 1994) p. 55
A review of Jonathan Demme's Philadephia, starring Tom Hanks and Denzel Washington. The film centers on the corrosive effects of homophobia on the American democratic tradition of equal rights under the law. However, Demme's rather tentative handling of the film's "gay" material suggests that he is uncomfortable with thoughts of homosexuality.

Romney, Jonathan.
"Philadelphia." (movie reviews) New Statesman & Society v7, n291 (Feb 25, 1994): 33 (2 pages).

Seidenberg, R.
"The silence of the lambs." American Film v. 16 (February 1991) p. 49-50

Simon, John.
"Philadelphia." (movie reviews) National Review v46, n2 (Feb 7, 1994):68 (2 pages).

Sluhovsky, Moshe.
"Philadelphia." (movie reviews) American Historical Review v99, n4 (Oct, 1994):1266 (5 pages).

Taubin, Amy.
"The odd couple. (critical appreciation of the film 'Philadelphia')." Sight and Sound 4.n3 (March 1994): 24(2).
"'Philadelphia,' the first major Hollywood movie on AIDS, conveys the reactions of society to an AIDS-afflicted white male homosexual. Director Jonathan Demme has been criticized for his portrayal of single-dimensional characters. Tom Hanks and Denzel Washington are two totally different characters, and the ostracized Hanks is helped by the reluctantly sympathetic black lawyer. The film clearly shows that homophobia and racism exist in American society." [Expanded Academic Index]

Ulusoy, Nejat
"Shooting AIDS: A Comparison of Philadelphia and Les Nuits Fauves." Culture & Communication, vol. 3, no. 2, pp. 31-55, Summer 2000

Van Fuqua, Joy
"Can't you feel it, Joe?': male melodrama and the family man." Velvet Light Trap nr 38 (Fall 1996); p 28-38
On Jonathan Demme's updating of the melodrama genre for his AIDS film "Philadelphia", focusing on its portrayal of male emotion.

Silence of the Lambs

Books/articles about serial killers in the movies

Baelo Allue, Sonia.
"The Aesthetics of Serial Killing: Working against Ethics in The Silence of the Lambs (1988) and American Psycho." Atlantis: Revista de la Asociacion Espanola de Estudios Anglo-Norteamericanos. 24 (2): 7-24. 2002 Dec.

Barale, Michele Aina.
"When Lambs and Aliens Meet: Girl-Faggots and Boy-Dykes Go to the Movies." In: Cross-purposes: lesbians, feminists, and the limits of alliance / edited by Dana Heller. pp: 95-106. Bloomington: Indiana University Press, c1997. Electronic location: http://www.netlibrary.com/summary.asp?id=665
Main Stack HQ75.5.C76 1997

Benton, Robert J.
"The Silence of the Lambs: Clarice Starling's analysis?" Psychoanalytic Review. Vol 79(3), Fal 1992, pp. 457-461

Blake, Linnie.
"Whoever Fights Monsters: Serial Killers, the FBI and America's Last Frontier." In: The Devil himself: villainy in detective fiction and film / edited by Stacy Gillis and Philippa Gates. pp: 197-210. Westport, Conn.: Greenwood Press, 2002. Contributions to the study of popular culture; no. 73
Main Stack PR830.D4.D45 2002

Badley, L.
"Looking for the mother in The silence of the lambs." In: Film, horror, and the body fantastic / Linda Badley. Westport, Conn. : Greenwood Press, 1995.
MOFF: PN1995.9.H6 B24 1995

Conlon, J.
"Silencing lambs and educating women." Post Script Vol XII nr 1 (Fall 1992); p 3-12.
Likens Clarice Starling's mission in "The silence of the lambs" to that of Marlow in Conrad's 'Heart of darkness', and draws parallels between her relationship with Hannibal Lecter and that of Plato and Socrates in 'Symposium'.

Donald, Adrienne.
"Working for Oneself: Labor and Love in The Silence of the Lambs." In: The movies: texts, receptions, exposures / edited by Laurence Goldstein and Ira Konigsberg. pp: 60-74. Ann Arbor: University of Michigan Press, c1996.
Main Stack PN1994.M78 1996
Moffitt PN1994.M78 1996

Dubois, Diane.
"'Seeing the Female Body Differently': Gender Issues in The Silence of the Lambs." Journal of Gender Studies. 10(3):297-310. 2001 Nov
UC users only
"In this paper it is argued that the habitual representation of women in film has played a considerable part in constructing ideas of femininity, which contemporary filmmaking can deconstruct. The Silence of the Lambs deconstructs femininity as it has been constructed in four classic genres: the serial killer movie, the horror or monster movie, the 'pupil and mentor' movie and the 'psychiatrist and patient' movie. The Silence of the Lambs can be shown to deconstruct the generic amalgam of voyeurism, the 'male gaze' of the camera, castration anxiety and the confused and reinstated gender identities typical of the serial killer movie. The empathy between Doctor Hannibal 'the cannibal' Lecter and young FBI agent Clarice Starling criticises the encoding strategies of the classic monster movie wherein both woman and monster are feared objects within patriarchal orders of seeing. Starling's appetite for success coincides with Lecter's more obviously worrying appetite; the film deconstructs those films wherein the ambition of the female pupil is personified by a demonic mentor. Starling, unlike most female pupils, is not punished for her ambition and strength, qualities partially created through the iconographic meanings of actor Jodie Foster. In psychiatrist and patient films, the heroine's behaviour is explainable when located within the patriarchal metanarrative of psychoanalysis, towards which The Silence of the Lambs is deeply ambivalent." [Ingenta]

Dyer, Richard
"Kill and kill again." (portrayal of serial killers in film and television) Sight and Sound Sept 1997 v7 n9 p14(4)
"'Millennium' by Chris Carter is one of the most recent television releases on serial killers. Motion pictures have consistently portrayed the serial killer in films such as 'M', 'The Silence of the Lambs' and 'Psycho'. More recent releases have focused on the identification of the pattern in serial killing, notably 'Se7en' and 'Copycat'. The role of women in the serial killer movie is discussed, along with the portrayal of police detection." [Expanded Academic Index]

Fahy, Thomas.
"Killer Culture: Classical Music and the Art of Killing in Silence of the Lambs and Se7en." Journal of Popular Culture. 37(1):28-42. 2003 Aug
UC users only

Fleck, Patrice
"Looking in the wrong direction: displacement and literacy in the Hollywood serial killer drama." Post Script Vol XVI nr 2 (Winter-Spring 1997); p 35-43.
The US 'serial killer' films of the 1990's are seen as a response to political conservatism and related solutions proposed for the crime problem; dwells on "Se7en" and "The silence of the lambs".

Francke, Lizzie
"The silence of the lambs. (review) Sight & Sound Vol I nr 2 (June 1991); p 62-63.

Fuller, Stephen M.
"Deposing an American Cultural Totem: Clarice Starling and Postmodern Heroism in Thomas Harris's Red Dragon, The Silence of the Lambs, and Hannibal." Journal of Popular Culture, Volume 38, Number 5, August 2005, pp. 819-833(15)
UC users only

Fuss, Diana.
"Monsters of Perversion: Jeffrey Dahmer and The Silence of the Lambs." In: Media spectacles / edited by Marjorie Garber, Jann Matlock & Rebecca L. Walkowitz. pp: 181-205. New York: Routledge, 1993.
Main Stack P92.U5.M444 1993
Moffitt P92.U5.M444 1993

Garrett, Greg.
"Objecting to Objectification: Re-Viewing the Feminine in The Silence of the Lambs." Journal of Popular Culture. 27(4):1-12. 1994 Spring
An analysis of the treatment of women in society in Jonathan Demme's film 'The Silence of the Lambs' emphasizes that women should be treated as people, not objects. Clarice Starling, frequently objectified by her male colleagues, treats Dr. Lecter as an individual rather than a case study. Starling's experiences with male objectification enable her to empathize with serial killer Buffalo Bill's victims, and to use a combination of intelligence and feminine intuition to gain valuable information that helps her solve the case.

Greenberg, Harvey Roy
"Psychotherapy at the Simplex. Le plus ça shrink." Journal of Popular Film and Television Vol XX nr 2 (Summer 1992); p 9-15.
Considers Hollywood's fascination with the psychiatrist figure, and comments on depictions in three recent successes: "The silence of the lambs", "What about Bob?" and "The prince of tides".

Gregory, Bettina
"Hannibal Lecter: The Honey in the Lion's Mouth." American Journal of Psychotherapy Wntr 2002 v56 i1 p100(15)
Author's Abstract: COPYRIGHT 2002 Association for the Advancement of Psychotherapy "This paper examines the psychopathology of Hannibal Lecter, the fictional killer and cannibal in Thomas Harris's trilogy: Red Dragon, Silence of the Lambs, and Hannibal from an object relations point of view. The victim of childhood trauma involving the killing of his family and the cannibalization of his baby sister, Lecter suffers from posttraumatic stress disorder. Using the theories of Melanie Klein, Harry Guntrip, D.W. Winnicott, M. Khan, as well as Otto Kernberg, this paper explores the reasons Lecter is compelled to kill and eat parts of some of his victims. He is locked in the paranoid-schizoid position, relies heavily on schizoid defenses, such as splitting and projective identification, but is unable to avoid psychotic breaks with reality to reenact his early traumas. Through his reunion with Clarice Starling, Lecter attempts the process of reparation and an entry into the depressive position." [Expanded Academic Index]

Halberstam, Judith.
"Skinflick: Posthuman Gender in Jonathan Demme's The Silence of the Lambs." Camera Obscura. 27:37-52. 1991 Sept.
UC users only

Halberstam, Judith.
"Skinflick: posthuman gender in Jonathan Demme's The silence of the lambs." Skin shows : gothic horror and the technology of monsters / Judith Halberstam. Durham : Duke University Press, 1995.
Main Stack PR830.T3.H27 1995

Hantke, Steffen
"'The kingdom of the unimaginable': the construction of social space and the fantasy of privacy in serial." Literature/Film Quarterly Vol XXVI nr 3 (July 1998); p 178-195. killer narratives.
Focuses on "The silence of the lambs" as an example of the serial killer film, showing how the idea of private space is linked with mental state.

Hawkins, Harriet.
"Maidens and Monsters in Modern Popular Culture: The Silence of the Lambs and Beauty and the Beast." Textual Practice. 7(2):258-66. 1993 Summer.

Hochman, Jhan.
"The Silence of the Lambs: A Quiet Bestiary." Isle. 1(2):57-80. 1993 Fall

Janovich, Mark.
"Genre and the Audience: Genre Classifications and Cultural Distinctions in the Mediation of The Silence of the Lambs." In: Hollywood Spectatorship: Changing Perceptions of Cinema Audiences. Stokes, Melvyn (ed., preface, and introd.); Maltby, Richard (ed. and preface). British Film Institute. London, England; 2001 pp. 33-45.
Main Stack PN1995.9.A8.H65 2001

Jayamanne, Laleen.
"Eyes in the back of your head": erotics of learning in Blue Steel and The silence of the lambs" In: Toward cinema and its double: cross-cultural mimesis Bloomington: Indiana University Press, 2001.
Main Stack PN1993.5.A1.J37 2001

Jermyn, Deborah
"You Can't Keep a Dead Woman Down: The Female Corpse and Textual Disruption in Contemporary Hollywood." In: Images of the corpse : from the Renaissance to cyberspace / edited by Elizabeth Klaver. Madison, Wis. : University of Wisconsin Press, c2004.
Main Stack NX650.D4.I46 2004

Kennedy, A.L.
"He knows about crazy." (motion picture 'The Silence of the Lambs')(Obsession) Sight and Sound June 1995 v5 n6 p34(1)
" The film 'The Silence of the Lambs' succeeds as a visual narrative due to the depth of portrayal achieved by the lead actors, the fast pacing and the spare but effective use of dialogue. Actor Anthony Hopkins provides the character of psychiatrist and serial killer with a real sense of humanity, while Jody Foster creates a positive image of the independent woman hero. Director Jonathan Demme achieved a densely textured story through lighting and images, while screenwriter Ted Tally reduced the novel's lines to fit the characterization on screen." [Expanded Academic Index]

Kilgour, Maggie.
"The Function of Cannibalism at the Present Time." In: Cannibalism and the colonial world / edited by Francis Barker, Peter Hulme, and Margaret Iversen. pp: 238-59. Cambridge, U.K.; New York: Cambridge University Press, 1998. Cultural margins; [5]
Grad Srvcs GN409.C35 1998 Non-circulating; may be used only in Graduate Services.
Main Stack GN409.C35 1998
Moffitt GN409.C35 1998

Kotker, Joan G.
"It's Scarier at the Movies: Jonathan Demme's Adaptation of The Silence of the Lambs." In: Reynolds, William. It's a print!: detective fiction from page to screen / edited by William Reynolds, Elizabeth A. Trembley. pp: 195-206. Bowling Green, OH: Bowling Green State University Popular Press, c1994.
Main Stack PN1995.3.R4 1994

Latimer, Robin M.
"Gridding the Vampire Filmography: Tony Scott's The Hunger (1983), Jonathan Demme's The Silence of the Lambs (1991), and Francis Ford Coppola's Bram Stoker's Dracula (1992)." Niekas. 45:44-48. 1998 July

Lawton, Henry
"Films, group-fantasy and the Persian Gulf War: Home Alone and The Silence of the Lambs." Journal of Psychohistory. Special Issue: Psychohistory of the cinema. Vol 20(1), Sum 1992, pp. 33-46

Lehmann, Chris
"Jonathan Demme and the Aesthetics of Contempt." Tikkun; Jul/Aug91, Vol. 6 Issue 4, p74-79, 6p

Leslie, Linda
"The Silence of the Lambs: Hardly wolves in sheeps' clothing." Journal of Psychohistory. Special Issue: Psychohistory of the cinema. Vol 20(1), Sum 1992, pp. 47-51

Mann, Karen B.
"The Matter with Mind: Violence and The Silence of the Lambs." Criticism-A Quarterly for Literature & the Arts. 38(4):583-605. 1996 Fall
UC users only
"Jonathan Demme's film 'The Silence of the Lambs' encourages viewers to question established notions of femininity, homophobia, and the connection between male violence and intelligence. Many connections can be made between the female space provided in the film and that painted by Dutch painter Jan Vermeers. On Vermeer's canvases, the notion of a female space among that of men is at the center of many portraits, and the character Clarice Starling must similarly function within a world of male authority figures, each of which represents a different shape that authority takes." [Expanded Academic Index]

Martin, Sara.
"Not Oedipus' Sister: The Redefinition of Female Rites of Passage in the Screen Adaptation of Thomas Harris's The Silence of the Lambs." In: Gender, I-deology: essays on theory, fiction and film / edited by Chantal Cornut-Gentille D'Arcy and Jose Angel Garcia Landa. pp: 439-50. Amsterdam; Atlanta: Rodopi, 1996. Postmodern Studies; 16
Main Stack PN56.F46.G46 1996

McKenna, Andrew J.
"Public Execution." In: Legal reelism: movies as legal texts / edited by John Denvir. pp: 225-43. Urbana: University of Illinois Press, c1996.
Main Stack PN1995.9.J8.L45 1996
Moffitt PN1995.9.J8.L45 1996

Mizejewski, L..
"Picturing the female dick: The silence of the lambs and Blue steel." Journal of Film and Video Vol XLV nr 2-3 (Summer-Fall 1993); p 6-23.
On the threat posed to the male heterosexual world by female detectives in recent films "The silence of the lambs" and "Blue steel".

Mizejewski, Linda.
"Stardom and Serial Fantasies: Thomas Harris's Hannibal." In: Keyframes: popular cinema and cultural studies / edited by Matthew Tinkcom and Amy Villarejo. pp: 159-70. London; New York: Routledge, 2001.
Main Stack PN1995.9.S6.K49 2001

Negra,Diane
"Coveting the feminine: Victor Frankenstein, Norman Bates, and Buffalo Bill." Literature-Film Quarterly April 1996 v24 n2 p193(8)
A psychoanalytical reading of "Psycho", "The silence of the lambs" and Mary Shelley's 'Frankenstein', focusing on the gender anxiety of the villain or monster in each.

Neil McDonald.
"Dr. Lecter, I Presume." (Review)_(movie review) Quadrant April 2001 v45 i4 p59
UC users only

Nevers, Camille
"A l'ombre des serial killers." Cahiers du Cinéma nr 461 (Nov 1992); p 82-89.
An examination of recent films focusing on serial killers ("The silence of the lambs", "Basic instinct", "Twin Peaks: fire walk with me", "C'est arrivé près de chez vous", "Henry portrait of a serial killer"), noting links with work by Hitchcock and Fritz Lang.

Phillips, Kendall R.
"Consuming Community in Jonathan Demme's The Silence of the Lambs." Communication Quarterly Fall 1999 v47 i4 p26

Phillips, Kendall R.
"Unmasking Buffalo Bill: Interpretive Controversy and The Silence of the Lambs." Rhetoric Society Quarterly. 28(3):33-47. 1998 Summer

Phillips, Kendall R.
"The silence of the lambs (1991)." In: Projected fears : horror films and American culture / Kendall R. Phillips. Westport, Conn. : Praeger Publishers, c2005.
Main Stack PN1995.9.H6.P44 2005

"Pornography and sexual representation."
Journal of Film and Video Vol XLV nr 2-3 (Summer-Fall 1993); p 3-115.
Articles on the role of female detectives in "The silence of the lambs" and "Blue steel"; the rejection of narrative and heterosexual romance in "Die Jungfrauenmaschine"; the rumours surrounding depiction of a real murder in "Snuff"; sexual advice given in tv programme 'Ask Dr. Ruth'; the pornographic past of ex-Pathé head Bernard Natan; reviews of the book 'How do I look? Queer film and video' and videos 'Dykeotomy' and 'Juggling gender'.

Robbins, Bruce.
"Murder and Mentorship: Advancement in The Silence of the Lambs." Uts Review: Cultural Studies & New Writing. 1(1):30-49. 1995 Aug

Robbins, Bruce.
"Murder and Mentorship: Advancement in The Silence of the Lambs." Boundary 2-An International Journal of Literature & Culture. 23(1):71-90. 1996 Spring
UC users only
"The film 'Silence of the Lambs' points to a complex relationship between sexuality and professional advancement. The film seems to suggest that professional advancement depends on the absence or displacement of sexuality, but there must also be an erotic appeal underlying the strong motivation to pursue a profession, suggesting an indirect sexuality in the mentor relationship. An essay by Gayatri Chakravorty Spivak brings out some parallels between 'Jane Eyre' and 'The Silence of the Lambs' in the subordination of sexuality to work. The film also uses the murderer Hannibal Lecter to mediate between the working and professional classes." [Expanded Academic Index]

Schechter, Harold.
"Skin Deep: Folk Tales, Face Lifts, and The Silence of the Lambs." Lit: Literature Interpretation Theory. 5(1):19-27. 1994

Schopp A.
"The Practice and Politics of "Freeing the Look": Jonathan Demme's The Silence of the Lambs." Camera Obscura, Volume 18, Number 53, 1 August 2003, pp. 125-151(27)
UC users only
"The Silence of the Lambs, a film directed by Jonathan Demme, is highly self-conscious both about its own status as film and about contemporary film theory. This film insists that cinematic pleasure, reliant as it is on the mediation of the gaze, is always about taking part in monstrous acts of looking, and is always about threatening to cross boundaries, from exterior to interior, thereby compromising the viability of gendering this gaze. It cannibalizes feminist film theory as it takes one aspect of that theory, the gaze, and in a way consumes it, potentially stripping it of its power and significance. It illuminates the way in which the look has been controlled and contained, not only by film in its practice of representation, but also by film theory in its application. Consequently, the film emphasizes the necessity to liberate the look of both camera and audience, and to do so by revisiting, even reformulating, the very theories that have helped both to establish and decipher the look and its various significations." [Art Index]

Staiger, Janet.
"Taboos and Totems: Cultural Meanings of The Silence of the Lambs." In: Feminist film theory: a reader / edited by Sue Thornham. pp: 210-23. New York: New York University Press, 1999.
Grad Svcs PN1995.9.W6.F465 1999
Main Stack PN1995.9.W6.F465 1999
Also in:
Reception study : from literary theory to cultural studies / edited by James L. Machor and Philip Goldstein. New York : Routledge, 2001.
Main Stack PN98.R38.R434 2001

Seidenberg, R..
"The silence of the lambs." American Film Vol XVI nr 2 (Feb 1991); p 49-50.
Report on Anthony Hopkins' role in "The silence of the lambs".

Smith, G.
"The silence of the lambs." Film Comment v. 27 (January/February 1991) p. 28-30+
"In an interview, director Jonathan Demme discusses his new film, The Silence of the Lambs, which is based on a Thomas Harris novel. One aspect of Harris's novel that Demme liked and believes he has preserved in his film version is the criticism of patriarchy. Demme tried to be faithful to Harris's characterization of the cannibalistic Dr. Lecter, and along with production designer Kristi Zea, he took pains to create a physical environment for the character that would suggest a step into an imaginative world. He initially conceived the film as rich in close-ups and subjective camera angles and deliberately avoided the modish, brooding look typical of thrillers, aspiring instead to a visual brightness whenever possible to compensate for the heaviness of the story." [Art Index]

Staiger, Janet.
"Taboos and Totems: Cultural Meanings of The Silence of the Lambs." In: Reception study : from literary theory to cultural studies / edited by James L. Machor and Philip Goldstein. New York : Routledge, 2001.
MAIN: PN98.R38 R434 2001

Sundelson, David.
"The Demon Therapist and Other Dangers: Jonathan Demme's The Silence of the Lambs." Journal of Popular Film & Television. 21(1):12-17. 1993 Spring. Bowling Green, OH
UC users only
Examines the film with emphasis on Hannibal Lecter's past career as a psychiatrist, and gives an analytical reading of his relationship with Clarice Starling.

Tasker, Yvonne
The silence of the lambs / Yvonne Tasker. London: British Film Institute, 2002. BFI modern classics.
Main Stack PN1997.S4943.T37 2002

Taubin, Amy.
"Grabbing the Knife: The Silence of the Lambs and the History of the Serial Killer Movie." In: Women and film: a Sight and sound reader / edited by Pam Cook and Philip Dodd. pp: 123-31. Philadelphia: Temple University Press, 1993. Culture and the moving image.
Main Stack PN1995.9.W6.W63 1993
Moffitt PN1995.9.W6.W63 1993

Taubin, Amy.
"Killing men. (serial killers in motion pictures)." Sight and Sound 1.n1 (May 1991): 14(6).

Tharp, Julie.
"The Transvestite as Monster: Gender Horror in The Silence of the Lambs and Psycho." Journal of Popular Film & Television. 19(3):106-13. 1991 Fall.
Horror films, from "Psycho" to "The silence of the lambs", are driven by images of gender confusion and transvestism.

Thomson, Iain.
"The Silence of the Limbs: Critiquing Culture from a Heideggerian Understanding of the Work of Art." Enculturation: Cultural Theories & Rhetorics. 2(1):(no pagination). 1999 Fall

Trahair, Lisa.
"A Taste for Murder: Aesthetics in The Silence of the Lambs." New Formations: A Journal of Culture/Theory/Politics. 47: 155-70. 2002 Summer.

Wardrop, Stephanie.
"They Don't Have a Name for It Yet: Patriarchy, Gender and Meat-Eating in Jonathan Demme's The Silence of the Lambs." Lit: Literature Interpretation Theory. 5(1):95-105. 1994

Watts, Carol.
"From Looking to Coveting: The 'American Girl' in The Silence of the Lambs." Women: a Cultural Review. 4(1):63-77. 1993 Spring

Wolfe, Cary. Elmer, Jonathan.
"Subject to Sacrifice: Ideology, Psychoanalysis, and the Discourse of Species in Jonathan Demme's Silence of the Lambs." Boundary 2-An International Journal of Literature & Culture. 22(3):141-70. 1995 Fall
UC users only

Wolfreys, Julian.
"Cannibalizing Culture: What's So Transgressive about Transgression Anyway?" Imprimatur (University of Luton). 1(1):55-59. 1995 Winter

Young, Elizabeth.
"The Silence of the Lambs and the Flaying of Feminist Theory." Camera Obscura. 27:5-35. 1991 Sept. UC users only
Two readings of the film, tying it to feminist theories concerning gender roles and the power of the cinematic gaze.

Something Wild

Bailey, C.
"Nigger/Lover: The Thin Sheen of Race in 'Something Wild'." Screen (London, England) v. 29 (Aut 1988) p. 28-40

Beach, Christopher.
"Yuppies and other strangers: Class satire and cultural clash in contemporary comedy." In: Class, language and American film comedy / Christopher Beach. Cambridge, U.K. ; New York : Cambridge University Press, 2002.
Full text available online (UCB users only)
Main (Gardner) Stacks PN1995.9.C55 B43 2002

Bliss, Michael
"Road Crazies." In: What goes around comes around : the films of Jonathan Demme Carbondale : Southern Illinois University Press, c1996.
MAIN: PN1998.3.D393 B57 1996;

Del Rio, Constanza.
"Something Wild: Take a Walk on the Wild Side (But Be Home before Midnight)." In: Terms of endearment : Hollywood romantic comedy of the 1980s and 1990s / edited by Peter William Evans and Celestino Deleyto. Edinburgh : Edinburgh University Press, c1998.
Main (Gardner) Stacks PN1995.9.C55 T47 1998

Evans, Jeff.
"Something new: music as re-vision in Jonathan Demme's 'Something Wild.'." Popular Music and Society 19.n3 (Fall 1995): 1(17).
"The different forms of popular music used in Jonathan Demme's film 'Something Wild' reflects the sociopolitical stances of Audrey and Ray, two of the main characters. Demme uses rap, reggae and New Wave to reveal young generation's effort to counter dominant cultural ideology. Breaking away from the traditional screwball comedy, the film suggests acceptance of open-ended and spontaneous approach to life and rejection of old values, represented by Charlie. Treatment of music suggests possibility for further cultural change, making the viewers conscious of their roles, values and social behaviour." [Expanded Academic Index]

Hark, Ina Rae.
"Fear of Flying: Yuppie Critique and the Buddy-Road Movie in the 1980s" In: The road movie book / edited by Steven Cohan and Ina Rae Hark. London ; New York : Routledge, 1997 full-text (UCB users only) Main Stack PN1995.9.R63.R63 1997

Jaehne, K.
"Something wild." Cineaste v. 15 no. 4 (1987) p. 40-1

Jameson, Fredric.
"Nostalgia for the Present." In: Close reading : the reader / edited by Frank Lentricchia and Andrew DuBois. Durham, NC : Duke University Press, c2003.
Main (Gardner) Stacks PR21 .C58 2003

Rafferty, T.
"Something wild." Sight & Sound v. 56 (Winter 1986-1987) p. 32-3

Stengel, Wayne B.
"Freedom and its discontents: visual pleasure and narrative cinema in Johnathan Demme's 'Something Wild'." New Orleans Review, 1991, Vol. 18 Issue 3, p54-60, 7p

Vestrich, Roy M.
"The Culture-Clash Comedies of the 1980s." In: Beyond the stars: Plot conventions in American popular film / edited by Paul Loukides and Linda K. Fuller. Bowling Green, Ohio : Bowling Green University Popular Press, c1990
Main (Gardner) Stacks PN1995.9.C36 B49 1990
Moffitt PN1995.9.C36 B49 1990

Viano, Maurizio.
"Something wild." Film Quarterly 40 (Summer 1987): 11(6).
UC users only

Stop Making Sense

Edwards, Gavin; David Fricke; Douglas Pratt; Rob Sheffield, et al.
"Stop Making Sense."Rolling Stone. New York: Nov 27, 2003. p. 78
UC users only

Thomas Doherty.
"Stop making sense." Film Quarterly v38.(Summer 1985): pp12(5).
UC users only

Sragow, M.
"After swinging off "Swing Shift", Jonathan Demme shot some Talking Heads. Michael Sragow approves." Film Comment 20:3 (1984:May/June) p.19

Swing Shift

Vineberg, Steve.
"'Swing Shift': a tale of Hollywood. (Jonathan Demme's 'Swing Shift')." Sight and Sound 60.n1 (Winter 1990): 8(6).
UC users only

White, Mimi
"Rehearsing Feminism: Women/History in The Life and Times of Rosie the Riveter and Swing Shift." Wide Angle: A Film Quarterly of Theory, Criticism, and Practice, vol. 7, no. 3, pp. 34-43, 1985
Also In: Multiple voices in feminist film criticism / Diane Carson, Linda Dittmar, and Janice R. Welsch, editors. Minneapolis : University of Minnesota Press, c1994.
Main Stack PN1995.9.W6.M82 1994
Moffitt PN1995.9.W6.M82 1994


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