Steven Spielberg:
A Bibliography of Materials in the UC Berkeley Library

Journal Articles

Articles and Books on Individual films


Baxter, John
Steven Spielberg : the unauthorised biography London : HarperCollins, c1996.
UNDE: PN1998.3.S65 B39 1996

Brereton, Pat.
"Spielberg: Eco-Auteur." In: Hollywood utopia : ecology in contemporary American cinema. Bristol, UK ; Portland, Ore. : Intellect Books, 2005.
Full text available online (UCB users only)
Main (Gardner) Stacks PN1995.9.N38 B74 2005

Brode, Douglas
The films of Steven Spielberg New York : Carol Pub. Group, c1995.
MAIN: PN1998.3.S65 B76 1995
Moffitt: PN1998.3.S65 B76 1995

Brode, Douglas
"Visionary Children and Child-Like Heroes: Steven Spielberg's 'Primal Sympathy'." In: A necessary fantasy? : the heroic figure in children's popular culture / edited by Dudley Jones and Tony Watkins. pp: 327-41 New York : Garland Pub., 2000. Garland reference library of the humanities ; vol. 1873. Garland reference library of the humanities. Children's literature and culture ; v. 18.
Main Stack P94.5.C55.N43 2000

Buckland, Warren.
Directed by Steven Spielberg : poetics of the contemporary Hollywood blockbuster New York : Continuum, 2006.
MAIN: PN1998.3.S65 B83 2006; View current status of this item
Table of contents

Buckland, Warren.
"The role of the auteur in the age of the blockbuster: Steven Spielberg and DreamWorks." In: Movie blockbusters / edited by Julian Stringer. London ; New York : Routledge, 2003.
Main Stack PN1993.5.A1.M68 2003

Clarke, James
Steven Spielberg Harpenden : Pocket Essentials, 2001.
Full-text available online (UC Berkeley users only)

The Directors. The films of Steven Spielberg[video]
[New York, N.Y.] : WinStar TV & Video, 2000.
Media Resources Center: VIDEO/C MM200

Ebert, Roger.
The future of the movies : [interviews with Martin Scorsese, Steven Spielberg, and George Lucas] Kansas City, Mo. : Andrews and McMeel, c1991.
Moffitt: PN1993.5.U6 E24 1991

Farber, Stephen.
Outrageous conduct : art, ego, and the Twilight zone case New York : Arbor House/Morrow, c1988.
MAIN: KF224.L33 F371 1988; Storage Info: B 4 179 841

The films of Steven Spielberg: critical essays
Edited by Charles L.P. Silet. Lanham, Md. : Scarecrow Press, 2002.
MAIN: PN1998.3.S65 F55 2002
Contents: Jaws. Archetypal landscapes and Jaws / Jonathan Lemkin ; Integrating ideology and archetype in rhetorical criticism, part II : a case study of Jaws / Thomas S. Frentz and Janice Hocker Rushing -- Close encounters of the third kind. Language and the music of the spheres : Steven Spielberg's Close enounters of the third kind / Charlene Engel -- Raiders of the lost ark. Raiders of the lost archetype : the quest and the shadow / Lane Roth -- E.T. : the extra-terrestrial. The look back in E.T. / Ilsa J. Bick -- The color purple. The color purple as everybody's protest art / Gerald Early -- Empire of the sun. Steven Spielberg's Empire of the sun : a boy's dream of war / Andrew Gordon ; Ballard's nightmares/Spielberg's dreams : Empire of the sun / Frank Gormlie -- Always. Raiders of the lost text / H.R. Greenberg -- Hook. Robert Bly does Peter Pan : the inner child as father to the man in Steven Spielberg's Hook / Patricia Pace -- Jurassic park. Dinomania / Stephen Jay Gould -- Schindler's list. The economies of Schindler's list / Kirby Farrell ; Narration and the embodiment of power in Schindler's list / Ora Gelley -- Amistad. "Amistad" and the abuse of history / Gary Rosen -- Saving Private Ryan. Jerry don't surf / Louis Menand.

Freer, Ian.
The complete Spielberg London : Virgin, 2001.
MAIN: PN1998.3.S65 F74 2001

Friedman, Lester D.
Citizen Spielberg Urbana : University of Illinois Press, c2006.
MAIN: PN1998.3.S65 F75 2006
Table of contents

Gilbey, Ryan.
"Steven Spielberg." In: It don't worry me : the revolutionary American films of the seventies / Ryan Gilbey. 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 Pacific Film Archive collection; non-circulating

Gordon, Andrew
Empire of dreams : the science fiction and fantasy films of Steven Spielberg Lanham, Md. : Rowman & Littlefield, c2008.
MAIN: PN1998.3.S65 G67 2008
Table of contents

Hauke, Christopher
""Let's go back to finding out who we are" : men, Unheimlich and returning home in the films of Steven Spielberg." In: Jung & film : post-Jungian takes on the moving image / [edited by] Christopher Hauke and Ian Alister. Hove, East Sussex ; New York : Brunner-Routledge, 2001.
Main Stack PN1995.J86 2001

Jackson, Kathi
Steven Spielberg : a biography Westport, Conn. : Greenwood Press, 2007.
MAIN: PN1998.3.S65 J33 2007;
Table of contents

Kolker, Robert Phillip.
A cinema of loneliness : Penn, Stone, Kubrick, Scorsese, Spielberg, Altman Oxford ; New York : Oxford University Press, 2000.
MAIN: PN1993.5.U6 K57 2000
MAIN: PN1993.5.U6 K571 1988 [older edition]
Moffitt PN1993.5.U6 K571 1988 [older edition]
MAIN PN1993.5.U6 .K57 1980 [older edition]
MAIN PN1993.5.U6 .K57 1980 [older edition]

LaBrecque, Ron.
Special effects : disaster at Twilight zone : the tragedy and the trial New York : Scribner, c1988.
MAIN: KF224.L33 L331 1988

Lewis, Jon
"The perfect money machine(s) : George Lucas, Steven Spielberg, and auteurism in the new Hollywood." In: Looking past the screen : case studies in American film history and method / edited by Jon Lewis and Eric Smoodin. Durham : Duke University Press, 2007.
Main Stack PN1993.5.U6.L58 2007

McBride, Joseph.
Steven Spielberg : a biography New York : Simon & Schuster, c1997.
Moffitt: PN1998.3.S65 M32 1997

Morris, Nigel
The cinema of Steven Spielberg : empire of light London ; New York : Wallflower, 2007.
MAIN: PN1998.3.S65 M67 2007

Mott, Donald R.
Steven Spielberg Boston : Twayne Publishers, c1986.
MAIN: PN1998.A3 S68431 1986

Pomerance, Murray
"The Man-Boys of Steven Spielberg." In: Where the boys are : cinemas of masculinity and youth / edited by Murray Pomerance and Frances Gateward. Detroit : Wayne State University Press, c2005. Contemporary approaches to film and television series
Main Stack PN1995.9.B7.W54 2005
Table of contents

Richardson, Michael
"Steven Spielberg and the Sanctification of Difference." In: Otherness in Hollywood Cinema Continuum International Publishing, 2010 New York, NY, USA
Full-text available online (UC Berkeley users only)
Main (Gardner) Stacks PN6714 .C6515 2010

Taylor, Philip M.
Steven Spielberg : the man, his movies, and their meaning New York : Continuum, 1992.
Moffitt: PN1998.3.S65 T39 1992

Von Gunden, Kenneth.
Postmodern auteurs : Coppola, Lucas, De Palma, Spielberg, and Scorsese Jefferson, N.C. : McFarland, c1991.
Moffitt: PN1998.2 .V66 1991

Ziesmer, Jerry
Ready when you are, Mr. Coppola, Mr. Spielberg, Mr. Crowe. Lanham, Md. : Scarecrow Press, 2000.
MAIN: PN1998.3.Z54 A3 2000

Journal Articles

Acuña, Beatriz Peña.
"Social Encounters between Frank Capra and Steven Spielberg." Journal of Alternative Perspectives in the Social Sciences, May2009, Vol. 1 Issue 2, p382-399, 18p
UC users only

Auty, Chris
"The complete Spielberg?" Sight & Sound Vol LI nr 4 (Autumn 1982); p 275-279
Reassessment of his films and investigation of the European critical reaction to them.

Brown, William.
"It's a shark eat shark world: Steven Spielberg's ambiguous politics." New Review of Film & Television Studies, Apr2009, Vol. 7 Issue 1, p13-22, 10p
UC users only

Buckland, Warren.
"The Artistry of Spielberg's Long Takes." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 27: (no pagination). 2003 July-Aug.

Burnetts, Charles.
"Steven Spielberg's 'feelgood' endings and sentimentality." New Review of Film & Television Studies, Apr2009, Vol. 7 Issue 1, p79-92, 14p
UC users only

Caldwell, Thomas.
"The Master of Consensual Manipulation." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 27: (no pagination). 2003 July-Aug.

Callahan, Dan.
"Arrested Development." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 27: (no pagination). 2003 July-Aug.

Caron, Andre.
"Spielberg's Fiery Lights." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 27: (no pagination). 2003 July-Aug.

Chamberlin, Carlos James.
"The Good, the Bad and the Ugly." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 27: (no pagination). 2003 July-Aug.

Didaco, Jorge.
"In the Eyes of Children." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 27: (no pagination). 2003 July-Aug.

Frodon, Jean-Michel.
"Master of the World." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 27: (no pagination). 2003 July-Aug.

Geng, V.
"Spielberg's express."Film Comment Vol XVII nr 4 (July-Aug 1981); p 57-59
Discusses Steven Spielberg's 'aggressive' directorial style.

Green, Carol et al.
"Steven Spielberg, A Celebration." Journal of Popular Film & Television 1991 18(4): 172-178 7p

Hoberman, J.
"Laugh, Cry, Believe: Spielbergization and Its Discontents." Virginia Quarterly Review, Winter2007, Vol. 83 Issue 1, p119-135, 17p,
UC users only
This essay reflects on issues related to the motion picture industry in the U.S. According to the author, several actors including John Wayne and Ronald Reagan began to enter politics during the 1960s and the nature of star-politics had been long since normalized. The author states that director Steven Spielberg's talent as a filmmaker can be wildly overstated but there is no denying his brilliance as a pop-culture player.

Keser, Robert.
"Catch Me if You Can." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 27: (no pagination). 2003 July-Aug.

McBride, Joseph.
"A reputation: Steven Spielberg and the eyes of the world." New Review of Film & Television Studies, Apr2009, Vol. 7 Issue 1, p1-11, 11p
UC users only

McGillivray, David
"The movie brats: Steven Spielberg."Films & Filming nr 356 (May 1984); p 16-17
Consideration of his career and his achievements so far.

O'Donoghue, Daragh.
"The Impotence of Being Earnest." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 27: (no pagination). 2003 July-Aug.

Pells, Richard
" Who's afraid of Steven Spielberg?" (cultural imperialism) Diplomatic History, Summer 2000 v24 i3 p495(8)
Late 20th century intellectuals fretted about American cultural imperialism. However, the greater threat to local cultural integrity is probably world culture.

Pomerance, Murray
"Digesting Steven Spielberg." Film International; 2008, Vol. 6 Issue 2, p24-37, 14p
UC users only

"The Question Spielberg: Part II: Filmography."
Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 27: (no pagination). 2003 July-Aug.

Ramirez, Christian.
"Omnipotence and Surrogate Fathers."
Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 27: (no pagination). 2003 July-Aug.

Rigg, Julie.
"Spielberg and the Girl in the Little Red Coat." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 27: (no pagination). 2003 July-Aug.

Sexton, Roy.
"'Steven Doesn't Understand No': Masculinity and Escapism in the Films of Steven Spielberg." Henry Street: A Graduate Review of Literary Studies. 5 (1): 59-74. 1995 Spring.

Sodtholt, Dag.
"Warning: Sentimentality!" Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 27: (no pagination). 2003 July-Aug.

Stephens, Chuck
"Spielberg's Lost World: Franchise, fatherhood, a world without dung." Film Comment. Jul/Aug 1997. Vol. 33, Iss. 4; pg. 12, 3 pgs
UC users only

Tuchman, Mitch
"Close encounter with Steven Spielberg." Film Comment Vol XIV nr 1 (Jan-Feb 1978); p 49-55
Director S.S. discusses his career.

Uhlich, Keith.
"The Major and the Minor." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 27: (no pagination). 2003 July-Aug.

Articles/Books About Individual Films

AI: Artificial Intelligence

Arthur, Paul
"A.I. artificial intelligence." Film Comment Vol XXXVII nr 4 (July-Aug 2001); p 22-25
UC users only
Analysis of Spielberg's film "A.I. artificial intelligence".

Beard, William.
"A.I. or, the Agony of Steven Spielberg.(Critical Essay)." CineAction 66 (Spring 2005): 2(10).

Dillon, S.
"Spielberg's A.I.: animation, time, and digital culture. In: The Solaris effect : art & artifice in contemporary American film / Austin : University of Texas Press, 2006.
MAIN: PN1993.5.U6 D47 2006; View current status of this item
Table of contents

Gordon, Andrew
"A.I. (2001): Separation Anxiety." In: Empire of dreams : the science fiction and fantasy films of Steven Spielberg Lanham, Md. : Rowman & Littlefield, c2008.
MAIN: PN1998.3.S65 G67 2008;
Table of contents

Hoberman, J.
"The Dreamlife of Androids." Sight and Sound. 11 (9): 16-18. 2001 Sept.
UC users only

Jess-Cooke, Carolyn
"Virtualizing the Real: Sequelization and Secondary Memory in Steven Spielberg's Artificial Intelligence: A. I." Screen, vol. 47, no. 3, pp. 347-65, Fall 2006
UC users only
"The writer discusses issues of the subconscious and subjectivity in Steven Spielberg's Artificial Intelligence: A. I. (2001). The film depicts the creation of a robotic or "mecha" child as a living, thinking, dreaming replica of a dead human boy named David. The robotic David's "real-ness" is defined in the film in terms of his psychological development, which progresses not toward human "real-ness" as in the Pinocchio story, but toward the psychoanalytic "Real" as described by Jacques Lacan. A. I. offers full-blown speculations on the construction of the subconscious and portraits of maternity as a point of origin, and the tension between the "original" and its derivative, or the sequel, informs its portrayal of virtual subjectivity. Perhaps more pointedly, the film constructs reflective surfaces and the circle as symbols of David's psychological development. The writer goes on to examine the film's representations of the subconscious and subjectivity in terms of the Freudian and Lacanian theories it appears to invoke." [Art Index]

Komninou, E.
"AI: man, machines and love." (Film). (AI: Artificial Intelligence)(Movie Review) Futures Sept 2003 v35 i7 p793(6) (3075 words)
UC users only

Koresky, Michael.
"Twilight of the Idyll." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 27: (no pagination). 2003 July-Aug.

Kreider, Tim
"A.I.: artificial intelligence."Film Quarterly Vol LVI nr 2 (Winter 2002-2003); p 32-39
UC users only

Lesser, Wendy
"Robots and Actors." (Steven Spielberg's A.I.; The Score)(Review) The American Prospect August 27, 2001 v12 i15 p34 (1250 words)
UC users only

McClean, Shilo T.
"ET 2 AI : Steven Spielberg." In: Digital storytelling : the narrative power of visual effects in film / Shilo T. McClean. Cambridge, Mass. : MIT Press, 2007.
Main Stack TR858.M348 2007

McConnell, Kathleen
"Creating People for Popular Consumption: Echoes of Pygmalion and 'The Rape of the Lock' in Artificial Intelligence: AI." Journal of Popular Culture, vol. 40, no. 4, pp. 683-99, August 2007
UC users only

Morrissey, Thomas
"Growing Nowhere: Pinocchio Subverted in Spielberg's A.I. Artificial Intelligence." Extrapolation: A Journal of Science Fiction and Fantasy, vol. 45, no. 3, pp. 249-62, Fall 2004.
UC users only
Morrisey critiques Carlo Collodi's Pinocchio and Stephen Spielberg's A.I. Artificial Intelligence. He says that Disney's Pinocchio is a great entertainment achievement, but it trivializes Collodi's tale of becoming, by transforming it into a paean to impossibly idealized childhood. On the other hand, A.I. Artificial Intelligence, Spielberg, following Stanley Kubrick's lead, reaches past Disney and directly back to Collodi by having Monica Swinton, robot David's mommy, read aloud from a good English version of The Adventures of Pinocchio. Furthermore, the fictive world of A.I. resembles the kind of place one might expect to find if Collodi's worst villains had gained access to advanced technology.

Naremore, James.
"Love and death in AI: Artificial Intelligence." Michigan Quarterly Review (44:2) 2005, 257-84. (2005)

O'Brien, G.
"The mechanical child." In: Castaways of the image planet : movies, show business, public spectacle / Geoffrey O'Brien. Washington, D.C. : Counterpoint, c2002.
Main Stack PN1994.O25 2002

Olivier, Bert.
"When Robots would really be Human Simulacra: Love and the Ethical in Spielberg's Al and Proyas's I, Robot." Film-Philosophy, 2008, Vol. 12 Issue 2, p30-44, 15p

Rosenbaum, Jonathan
"The best of both worlds: A.I. artificial intelligence." Essential cinema : on the necessity of film canons / Jonathan Rosenbaum. Baltimore : Johns Hopkins University Press, 2004.
Main Stack PN1994.R5684 2004

Rosenbaum, Jonathan
"A Matter of Life and Death: A.I." Film Quarterly , Vol. 65, No. 3 (Spring 2012), pp. 74-78
UC users only

"The sci-fi issue." Sight & Sound Vol XI nr 9 (Sept 2001); p 12-22
Science fiction special containing articles on Tim Burton's "Planet of the apes", Spielberg's "A.I." and two versions of "Dune".

Shepard, Lucius
"Aieeeeeeeeeeeee." Fantasy & Science Fiction; Dec2001, Vol. 101 Issue 6, p112-117, 6p UC users only

Sobchack, Vivian.
"Love machines: boy toys, toy boys and the oxymorons of A.I.: Artificial Intelligence." Science Fiction Film & Television, 2008, Vol. 1 Issue 1, p1-13, 13p
UC users only

Solman, Gregory.
"Awakening to A.I.'s Dream." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 27: (no pagination). 2003 July-Aug.

Sterritt, David
"Spielberg, iconophobia, and the mimetic uncanny." New Review of Film & Television Studies; Apr2009, Vol. 7 Issue 1, p51-65, 15p
UC users only

Surkan, K.
"I Want to be a Real Boy": A. I. Robots, Cyborgs, and Mutants as Passing Figures in Science Fiction Film." Femspec, 2004, Vol. 5 Issue 1, p114-136, 23p
UC users only

Tibbetts, John C.
"Authorship & "Intelligence": Brian Aldiss." Literature/Film Quarterly Vol XXIX nr 4 (2001); p 262-263
UC users only

Tibbetts, John C.
"Robots Redux: A.I. Artificial Intelligence (2001)." Literature/Film Quarterly. 29 (4): 256-61. 2001.
UC users only
Presents Brian Aldiss, the author of 'Supertoys', the novel which was adapted for the Kubrick-Spielberg film "A.I. artificial intelligence".

Weinberger, Gabriele
"Spielberg's Artificial Intelligence: millennial mother and son." (Critical Essay) West Virginia University Philological Papers Fall 2002 p104(6) (3198 words)



Alleva, Richard.
"Ships in the Night." (motion pictures Amistad and Titanic)(includes related article on role played by translator on Amistad) Commonweal v125, n3 (Feb 13, 1998):17 (3 pages).

Bresnick, Adam
"Telling Everyone's Story." TLS, the Times Literary Supplement v 4951 Feb 20, 1998; pp: 18

Britt, Donna.
"A white Man's Film Slips Over My Wall." (motion picture, "Amistad", on a mutiny by black slaves is effectively directed by Steven Spielberg, a white filmmaker)(Column) Los Angeles Times v116, n22 (Mon, Dec 22, 1997):B5, col 1, 16 col in.

Capino, José B.
"Amistad: Conversations and Reparations!" In: American cinema of the 1990s: themes and variations / edited by Chris Holmlun. New Brunswick, N.J. : Rutgers University Press, c2008.
Full text available online (UC Berkeley users only)

Currie, Bennie M.
"Amistad: Sailing into History." (controversial film based on the mutiny and US trial of kidnapped Africans aboard a slaver's ship) American Visions v12, n6 (Dec-Jan, 1997):39 (3 pages).

Dalzell, Frederick.
"Dreamworking 'Amistad': Representing Slavery, Revolt, and Freedom in America, 1839 and 1997." New England Quarterly v71, n1 (March, 1998):127 (7 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

Evelyn, Jamilah.
"History As Told By ... professor proclaims his 'Amistad' ancestry." (Samuel Hingha Pieh; includes related articles) Black Issues in Higher Education v14, n25 (Feb 5, 1998):24 (4 pages).

Jackson, Donald Dale.
"Mutiny on the Amistad: in 1839, African Freemen Seized as Slaves, Struck a Daring Blow for Freedom." Smithsonian v28, n9 (Dec, 1997):114 (9 pages).

Jeffrey, Julie Roy
"Amistad (1997): Steven Spielberg's 'true story'." Historical Journal of Film, Radio and Television March 2001 v21 i1 p77
UC users only

Kinnon, Joy Bennett; Collier, Aldore.
"The Amistad Slave Mutiny!" (new historical motion picture 'Amistad')(includes related article on producer Debbie Allen) Ebony v53, n2 (Dec, 1997):54 (4 pages).

Lipkin, Steve
"When victims speak (or, what happened when Spielberg added 'Amistad' to his list?)." (Steven Spielberg)(Critical Essay) Steve . Journal of Film and Video Wntr 2001 v52 i4 p15(18)
UC users only
"This article examines the role of storytelling in Steven Spielberg's 'Amistad,' a film dealing with slavery and race relations in pre-Civil War United States. Topics addressed include the relationship between docudrama, historiography, and storytelling, and how testimony can lead to empowerment for the oppressed." [Expanded Academic Index]

Mead, Rebecca.
"The Pictures: One Novelist, Two Screenwriters, and Confusion Aboard the Amistad." New Yorker v73, n37 (Dec 1, 1997):37 (2 pages).

Mhando, Martin.
"La Amistad." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 27: (no pagination). 2003 July-Aug.

Milloy, Courtland.
'Amistad' Through a Different Lens." (criticism of Steven Spielberg's portrayal of black slave rebellion)(Column) Washington Post v120, n348 (Sun, Dec 14, 1997):B1, col 1, 22 col in.

Neibuhr, Gustav.
"Minister Says 'Amistad' Missed an Opportunity." (Rev. Davida F. Crabtree) New York Times v147 (Sat, Jan 17, 1998):A10(N), A10(L), col 6, 20 col in.

Paquette, Robert L.
"From History to Hollywood: The Voyage of "La Amistad"." The New Criterion v. 16 (Mar. '98) p. 74-8.

Phillips, Caryl.
"Amistad." In: A new world order / London : Secker & Warburg, 2001.
MAIN: PR9275.S263 A16 2001
MOFF: PR9275.S263 A16 2001

Phillips, Caryl.
"Another Course Change Toward Seriousness: 'Amistad,' about an 1839 slave revolt and its aftermath, is a new test of the Steven Spielberg who ventures beyond entertainment." New York Times v146, sec2 (Sun, Sept 7, 1997):H39(N), H39(L), col 1, 55 col in.

Pizzello, Stephen.
"Breaking Slavery's Chains." American Cinematographer v. 79 (Jan. '98) p. 28-32+.

Pinkerton, James P.
"Believing in Miracles of Faith on Film: 'Amistad' may take liberties in showing how whites found God and set blacks free, but so what?" (Column) Los Angeles Times v116, n25 (Thu, Dec 25, 1997):B7, col 5, 14 col in.

Rich, Frank.
"Who Stole History?" (controversy over Steven Spielberg's film 'Amistad' and the lawsuit brought by author Barbara Chase-Riboud for alleged copyright infringement)(Column) New York Times v147 (Sat, Dec 13, 1997):A21(N), A15(L), col 1, 16 col in.

Rosen, Gary.
"Amistad" and the Abuse of History. Commentary v105, n2 (Feb, 1998):46 (6 pages).
UC users only

Samuels, Allison; Giles, Jeff.
"Unchained Melody: Four Years After 'Schindler,' Steven Spielberg directs Another Freedom Song, 'Amistad."" Newsweek v129, n14 (April 7, 1997):70 (3 pages).

Schama, Simon.
"Clio at the Multiplex: What Hollywood and Herodotus Have in Common." (reflections on the motion picture 'Amistad') New Yorker v73, n43 (Jan 19, 1998):38 (6 pages).

Stoddard, Jeremy D.; Marcus, Alan S.
"The Burden of Historical Representation: Race, Freedom, and 'Educational' Hollywood Film." Film and History: An Interdisciplinary Journal of Film and Television Studies, vol. 36, no. 1, pp. 26-35, 2006
UCB users only

Thomas, Hugh.
"'Amistad' as History." (historical perspective on Steven Spielberg's film concerning rebellion on a slave ship in the 1830s)(Column) Wall Street Journal, n250 (Tue, Dec 16, 1997):A18(W), A18(E), col 3, 17 col in.

Thornton, John
"Liberty or Licence?" History Today v48 n4 Apr 1998, pp: 58-9

Trescott, Jacqueline.
"The 'Amistad' Odyssey; How an Obscure Slave Rebellion Became a Steven Spielberg Epic." Washington Post v120, n344 (Wed, Dec 10, 1997):D1, col 4, 42 col in.

UCC Official: 'Amistad' Distorts Abolitionists." (Steven Spielberg-directed motion picture)(Brief Article) Christian Century v115, n1 (Jan 7, 1998):8 (2 pages).

Vidal, Gore.
"Reel History: Why John Quincy Adams was the Hero of the Amistad Affair." (1839 slave rebellion) New Yorker v73, n34 (Nov 10, 1997):112 (7 pages).

Wall, James M.
"Spielberg's Daring." (Steven Spielberg's 'Amistad' - tepid boxoffice reflects US reluctance to confront racism)(Editorial) Christian Century v115, n13 (April 22, 1998):419 (2 pages).

Waxman, Sharon.
"Judge Sllows Release of Spielberg's 'Amistad'; plagiarism suit against filmmaker to proceed." (suit brought by Barbara Chase-Riboud against Steven Spielberg) Washington Post v120, n343 (Tue, Dec 9, 1997):D1, col 1, 21 col in.

Weinraub, Bernard.
'Amistad' Plagiarism Charge Rebutted." (Steven Spielberg attacks credibility of author, Barbara Chase-Riboud) (Living Arts Pages) New York Times v147 (Thu, Dec 4, 1997):B1(N), E1(L), col 4, 19 col in

White, Armond.
"Against the Hollywood Grain." (an analysis of Steven Speilberg's 'Amistad') Film Comment v34, n2 (March-April, 1998):34 (9 pages).
Discusses history, race and ethics in S.S.'s "Amistad". Notes the difference in critical response from his earlier film "Schindler's list".

Will, George F.
"History As It Should Be." (Steven Spielberg's 'Amistad')(Column) Washington Post v120, n352 (Thu, Dec 18, 1997):A27, col 2, 15 col in.

Wyatt-Brown, Bertram
"Amistad" The Journal of American History v85 n3 Dec 1998, pp: 1174+


Ansen, David; Samuels, Allison.
"Amistad." (motion picture) Newsweek v130, n23 (Dec 8, 1997):64 (3 pages).

Collum, Danny Duncan.
"Amistad." (motion picture) Sojourners v27, n2 (March-April, 1998):52.

Denby, David.
"Amistad." (motion picture) New York v30, n48 (Dec 15, 1997):63 (2 pages).

Kauffmann, Stanley
"Of Human Bondage." (movie review) The New Republic v217 n 25 Dec 22, 1997; pp: 24-25

Klawans, Stuart.
"Amistad." (motion picture) (movie reviews) Nation v266, n1 (Jan 5, 1998):34 (3 pages).

Levy, Emanuel.
"Amistad." (movie reviews) Variety v369, n5 (Dec 8, 1997):110 (2 pages).

Maslin, Janet.
"Amistad." (movie reviews) New York Times v147 (Wed, Dec 10, 1997):B1(N), E1(L), col 1, 20 col in.

McKitrick, Eric.
"Amistad." (movie reviews) New York Review of Books v45, n7 (April 23, 1998):53 (6 pages).

Schickel, Richard.
"Amistad." (movie reviews) Time v150, n25 (Dec 15, 1997):108.

Shargel, Raphael.
"Amistad." (movie reviews) New Leader v81, n20 (Jan 26, 1998):18 (2 pages).

Simon, John.
"Amistad." (movie reviews) National Review v49, n25 (Dec 31, 1997):56 (2 pages).

Sterritt, David.
"Amistad." (movie reviews) Christian Science Monitor v89, n13 (Fri, Dec 12, 1997):12, col 1, 20 col in.

Strick, Philip.
"Amistad." (movie reviews) Sight and Sound v8, n3 (March, 1998):36 (3 pages).

Thornton, John.
"Amistad." (movie reviews) History Today v48, n4 (April, 1998):58 (2 pages)

Wilentz, Sean.
"Amistad." (movie reviews) New Republic v217, n25 (Dec 22, 1997):25 (9 pages).

Close Encounters of the Third Kind

Alexander, V.
"The UFO cabal in movies." Films in Review v. 47 (September/October 1996) p. 20-2+
"The following science-fiction motion pictures are discussed: Species, Communion, Alien Autopsy: (Fact or Fiction?), Close Encounters of the Third Kind-Special Edition, Independence Day, and The X-Files."

Canby, Vincent.
"Close encounters of the third kind." (movie reviews) The New York Times August 31, 1980 v129 s2 pD10 col 1 (26 col in)

"Close encounters of the third kind." American Cinematographer Vol LIX nr 1 (Jan 1978); p 26-106
Special issue on all aspects of production of the film.

Cook, B.
"Close encounters with Steven Spielberg." American Film Vol III nr 2 (Nov 1977); p 24-29
On the making of 'Close encounters of third kind'.

"Dialogue on film: Steven Spielberg."
American Film Vol III nr 10 (Sept 1978); p 43-53
A seminar with director S.P. held at the American Film Institute's Center for Advanced Film Studies. S.P. discusses his films with emphasis on "Close encounters of the third kind".

Dorst, John.
"Postcolonial Encounters: Narrative Constructions of Devils Tower National Monument." In: Postcolonial America / edited by C. Richard King. pp: 303-20. Urbana : University of Illinois Press, c2000.
Main Stack E169.12.P647 2000

Engel, Charlene.
"Close encounters of the third kind. Language and the music of the spheres : Steven Spielberg's Close enounters of the third kind." In: The films of Steven Spielberg : critical essays / edited by Charles L.P. Silet. Lanham, Md. : Scarecrow Press, 2002. Filmmakers series ; 94
Main Stack PN1998.3.S65.F55 2002

Engel, Charlene.
"Language and the Music of the Spheres: Steven Spielberg's Close Encounters of the Third Kind." Literature/ Film Quarterly, vol. 24 no. 4. 1996. pp: 376-82.
"Steven Spielberg's "Close Encounters of the Third Kind" offers an optimistic view of the future that involves the power of communications and the ability to bridge language barriers. Critics that have focused on the film's political and spiritual qualities have missed the mark. The film is about ordinary people's capacity to overcome linguistic, national and physical barriers. The film also presages the increasing globalism that appears to be succeeding US nationalism and dominance." [Expanded Academic Index]

Entman, R.; Seymour, F.
"Close encounters of the third kind: Close encounters with the Third Reich." Jump Cut nr 18 (Aug 1978); p 3-6
Description of 'Close encounters...' as a fascist film.

Fairchild, B.H.
"An event sociologique: Close encounters." Journal of Popular Film and Television Vol VI nr 4 (1978); p 342-49
Author looks at 'Close encounters' in terms of its being about a sociological rather than a scientific event and treats the film as a sociological event.

Gordon, A.
"Close encounters: the gospel according to Steven Spielberg."Literature/Film Quarterly Vol VIII nr 3 (1980); p 156-164
Gives a negative view of "Close encounters of the third kind" and a general discussion of the religious strain in science-fiction literature and film.

Gordon, Andrew
"Close Encounters of the Third Kind (1977; rev. 1980): Unidentified Flying Object Relations." In: Empire of dreams : the science fiction and fantasy films of Steven Spielberg Lanham, Md. : Rowman & Littlefield, c2008.
MAIN: PN1998.3.S65 G67 2008;
Table of contents

Lehman, Ernest
"Close encounters of a quibbling kind." American Film Vol III nr 6 (Apr 1978); p 6-7

Mandal, Somdatta.
"The Curious Case of 'The Alien': Satyajit Ray vs. Steven Spielberg." Asian Cinema. 10 (2): 116-29. 1999 Spring-Summer.

Maslin, Janet.
"Close encounters of the third kind." (movie reviews) The New York Times August 11, 1980 v129 sC pC15 col 4 (5 col in)

"The mind behind 'Close encounters of the third kind'." American Cinematographer Vol LIX nr 2 (Feb 1978); p 152-53, 170-73, 198-203
Interview with director Steven Spielberg about his movies, his career, and his youth

Pym, H.
"The middle American sky."Sight & Sound Vol XLVII nr 2 (Spring 1978); p 99-100, 128
Account of the secrecy maintained during the making of the film, its advertising campaign and the film's content.

"Spielberg speaks about 'Close encounters'." American Cinematographer Vol LIX nr 1 (Jan 1978); p 39-42, 88
Interview with director S.S. about his film 'Close encounters of the third kind'

Stewart, G.
"Close encounters of the fourth kind." Sight & Sound Vol XLVII nr 3 (Summer 1978); p 167-74
Analysis of 'Close encounters ...' and setting it in context with earlier outstanding science fiction films.

Telotte, J. P.
Science fiction film Cambridge ; New York : Cambridge University Press, 2001.
UCB Main PN1995.9.S26 T45 2001
Science fiction film examines one of the most enduring and popular genres of Hollywood cinema, suggesting how the science fiction film reflects attitudes toward science, technology, and reason as they have evolved in American culture over the course of the twentieth century. J. P. Telotte provides a survey of science fiction film criticism, emphasizing humanist, psychological, ideological, feminist, and postmodern critiques. He also sketches a history of the genre, from its earliest literary manifestations to the present, while touching on and comparing it to pulp fiction, early television science fiction, and Japanese anime. Telotte offers in-depth readings of three key films: Robocop, Close Encounters of the Third Kind, and THX 1138, each of which typifies a particular form of science fiction fantasy. Challenging the boundaries usually seen between high and low culture, literature and film, Science fiction film reasserts the central role of fantasy in popular films, even those concerned with reason, science, and technology.

Torry, Robert .
"Politics and Parousia in 'Close Encounters of the Third Kind.'" Literature-Film Quarterly July 1991 v19 n3 p188(9)
" 'Close Encounters of the Third Kind' , a product of the bicentennial era, seeks to reaffirm American ideas of divine national destiny and trust in authority. The film combines Oedipal elements with the Biblical notion of Parousia, or the Second Advent, to convey its message of redemption. The use of Devil's Tower National Monument and the secretive nature of government in the film symbolize American decline; the return of lost soldiers and the 'election' of Neary and other average citizens represent hope for post-Watergate, post-Vietnam America." [Expanded Academic Index]

Williams, Tony.
"Close Encounters of the Authoritarian Kind." Wide Angle, vol. 5 no. 4. 1983. pp: 22-29.
On the reactionary ideology of the film "Close encounters of the third kind".

The Color Purple

Articles and Books

Bobo, Jacqueline.
"The Color Purple: Black Women as Cultural Readers." In Female Spectators: Looking at Film | and Television. Edited by Deidre Pribram, pp. 90-109 London: Verso, 1988.
Main Stack PN1995.9.W6.F44 1988
Moffitt PN1995.9.W6.F44 1988)

Bobo, Jacqueline.
"Reading Through the Text: The Black Woman as Audience." In: Black American Cinema / edited by Manthia Diawara. pp: 272-87. New York: Routledge, 1993. AFI film readers.
Main Stack PN1995.9.N4.B45 1993
Moffitt PN1995.9.N4.B45 1993

Bobo, Jacqueline.
" Sifting Through the Controversy: Reading 'The Color Purple'." Callaloo: A Journal of African-American and African Arts and Letters vol. 12 no. 2, 1989 Spring, 332-342

Butler, C. B.
The 'Color Purple' Controversy - Black Woman Spectatorship Wide Angle-A Quarterly Journal Of Film History Theory And Criticism, 1991, V13 N3-4:62-69.

Collins, Glenn.
The Color Purple." (moving-picture reviews) New York Times v134, sec2 (Sun, Dec 15, 1985):H1(N), H1(L), col 4, 56 col in.

Digby, Joan.
"From Walker to Spielberg: Transformations of 'The Color Purple'." In Novel Images: Literature in Performance. Edited by Peter Reynolds, pp. 157-174. London: Routledge, 1993 r
Main Stack PN1995.3.N68 1993

Dole, Carol M.
"The Return of the Father in Spielberg's 'The Color Purple.'" Literature-Film Quarterly v24, n1 (Jan, 1996):12 (5 pages).
UC users only

Early, Gerald
"The Color Purple As Everybody's Protest Art" Antioch Review, 1992 Winter-Spring, V50 N1-2:399-412.

Elsley, Judy.
"Laughter as Feminine Power in The Color Purple and A Question of Silence.'" In: New Perspectives on Women and Comedy / edited by Regina Barreca. pp: 193-99. Philadelphia: Gordon and Breach, c1992. Studies in gender and culture; v. 5
Main Stack PS430.N49 1992

Fitzsimmons, Kate.
"Go Ask Alice: Alice Walker Talks about The Color Purple 10 Years Later." San Francisco Review of Books. 21 (2): 20-23. 1996 Mar-Apr.

Friedman, Lester D.
"Black like him: Steven Spielberg's The Color Purple." In: The persistence of whiteness : race and contemporary Hollywood cinema / edited by Daniel Bernardi. London : New York : Routledge, 2008.
Main Stack PN1995.9.M56.P47 2008

Gilliam, Dorothy.
"'The Color Purple' Not as Simple as Black or White." (column) Washington Post v109 (Mon, Dec 23, 1985):B3, col 3, 17 col in.

Kim, Min-Jung.
"'Creative Mistranslation?': Adaptation as Violence." Feminist Studies in English Literature. 9(2):49-76. 2002 Winter

Mcmullen, Wayne J.; Solomon, Martha
"The Politics of Adaptation: Steven Spielberg's Appropriation of The Color Purple." Text & Performance Quarterly; Apr94, Vol. 14 Issue 2, p158, 17p
UC users only

Milloy, Courtland.
A 'Purple' Rage Over a Rip-off. (The Color Purple movie) (column) Washington Post v109 (Tue, Dec 24, 1985):B3, col 4, 14 col in.

Peacock J.
"When Folk Goes Pop - Consuming The 'Color Purple' "(Afro-American Folklore, Contemporary American Culture And The Spielberg Film) Literature-Film Quarterly, 1991, V19 N3:176-180.

Shattuc, Jane.
"Having a Good Cry over The Color Purple: The Problem of Affect and Imperialism in Feminist Theory." In: Melodrama: Stage Picture Screen / edited by Jacky Bratton, Jim Cook, Christine Gledhill. pp: 147-56. London: British Film Institute, 1994.
Main Stack PN1912.M45 1994

Shipp, E.R.
"Blacks in Heated Debate Over 'The Color Purple'. (moving-picture) New York Times v135 (Mon, Jan 27, 1986):11(N), A13(L), col 2, 15 col in.

Terry, Jill.
"The Same River Twice: Signifying The Color Purple." Critical Survey. 12(3):59-76. 2000

Walker, Alice.
"The Color Purple." Ms. vol 15, Nov. 1986, 32-25.

Walker, Alice
The Same River Twice: Honoring the Difficult: A Meditation on Life, Spirit, Art, and the Making of the Film, The Color Purple, Ten Years Later / Alice Walker. New York : Scribner, c1996.
UCB Grad Svcs PS3573.A425 Z47 1996
UCB Moffitt PS3573.A425 Z47 1996
UCB Morrison PS3573.A425 Z47 1996


Ansen, D.
"The Color Purple." (moving-picture reviews) Newsweek, Dec. 30, 1986, 59-60

Canby, Vincent.
"The Color Purple." (moving-picture reviews) New York Times v135, sec2 (Sun, Jan 5, 1986):H17(N), H17(L), col 1, 35 col in.

"The Color Purple." (moving-picture reviews). Jet, Jan. 13, 1986, 58-61; Mar. 10, 1986, 58-60; Mar. 17, 1986, 28-31; Apr. 14, 1986, 52-54

"The Color Purple." (moving-picture reviews) Wall Street Journal (Thu, Dec 19, 1985):20(W), 26(E), col 1, 23 col in.

Corliss, Richard.
"The Color Purple." (moving-picture reviews). Time, Dec. 23, 1985, 78

Dougherty, M.
"The Color Purple." Life, vol 9, Nov. 1986, 72-77

Ebert, Roger. Full-text review from the Chicago Sun-Times

Kael, Pauline.
"The Color Purple." (moving-picture reviews). New Yorker, vol. 61, Dec. 30, 1986, 68-70

Kauffmann, Stanley.
"The Color Purple." (moving-picture reviews). New Republic, vol. 38, Jan. 29. 1986, 24-25

Kopkind, A.
"The Color Purple." (moving-picture reviews). Nation, vol 243, Feb. 1, 1986, 124-5

Maslin, Janet.
"The Color Purple." (moving-picture reviews) New York Times v135 (Wed, Dec 18, 1985):25(N) C18(L), col 1, 22 col in.

O'Brien, T.
"The Color Purple." (moving-picture reviews). Commonweal, vol 1113, Jan. 31, 1986, 52-53

Milloy, Courtland.
"The Color Purple." (moving-picture reviews) Washington Post v109 (Tue, Feb 18, 1986):C3, col 4, 14 col in.

Simon, John.
"The Color Purple." (moving-picture reviews) National Review, vol 38, Feb. 14, 1986, 56-7

Wesley, R.
"The Color Purple." (moving-picture reviews). Ms. vol 15, Sept. 1986, 62+

Willimon, W.
"The Color Purple." (moving-picture reviews) Christian Century, vol. 103, May 14, 1986, 495-497.

ET: The Extra-terrestrial

Adair, Gilbert
"E.T. cetera."Sight & Sound Vol LII nr 1 (Winter 1982-83); p 63

Alexander, William.
"Send 'Em Back Where They Came From: Another Look at E. T." North Dakota Quarterly. 51 (3): 24-34. 1983 Summer.

Deutsch, P.
"E.T.: the ultimate patriarch."Jump Cut nr 28 (Apr 1983); p 12-13

Bick, Ilsa J.
"The Look Back in E.T." Cinema Journal, Summer92, Vol. 31 Issue 4, p25-41, 17p

Bick, Ilsa J.
"E.T. : the extra-terrestrial. The look back in E.T." In: The films of Steven Spielberg: critical essays Edited by Charles L.P. Silet. Lanham, Md. : Scarecrow Press, 2002.
MAIN: PN1998.3.S65 F55 2002

Buckland, Warren.
"E.T.: The Extra-terrestrial." In: American cinema of the 1980s : themes and variations / edited by Stephen Prince. New Brunswick, N.J. : Rutgers University Press, c2007.
Full text available online (UCB users only)
Main (Gardner) Stacks PN1993.5.U6 A8578 2007
Moffitt PN1993.5.U6 A8578 2007

Gabilondo, Joseba.
"The Global Phallus: On the Digital and Allegorical Economy of the Hispanic Subaltern in Hollywood Film." Discourse: Journal for Theoretical Studies in Media and Culture. 23 (1): 4-24. 2001 Winter.

Gordon, Andrew.
"E. T. as Fairy Tale." Science-Fiction Studies. 10 (3 (31)): 298-305. 1983 Nov.

Gordon, Andrew
"E. T. as Fairy Tale." In: Empire of dreams : the science fiction and fantasy films of Steven Spielberg Lanham, Md. : Rowman & Littlefield, c2008.
MAIN: PN1998.3.S65 G67 2008;
Table of contents

Henthorne, Tom, Driver
"Boys to Men: Medievalism and Masculinity in Star Wars and E. T.: The Extra Terrestrial." In: The medieval hero on screen : representations from Beowulf to Buffy / edited by Martha W. Driver and Sid Ray ; with a foreword by Jonathan Rosenbaum. Jefferson, N.C. : McFarland, c2004.
Main Stack PN1995.9.H44.M44 2004
PFA PN1995.9.H44.M44 2004)

Heung, M.
"Why E.T. must go home: the new family in American cinema." Journal of Popular Film and Television Vol XI nr 2 (Summer 1983); p 79-85
On the theme of the family in recent US films with special reference to "E.T. the extra-terrestrial".

Kramer, Peter.
"'He's very good at work not involving little creatures, you know': Schindler's List, E.T., and the shape of Steven Spielberg's career." New Review of Film & Television Studies, Apr2009, Vol. 7 Issue 1, p23-32, 10p
UC users only

Lenz, Millicent.
"E. T.: A Cosmic Myth for Space-Age Children." Children's Literature Association Quarterly. 8 (2): 3-5. 1983 Summer.

Lowentrout, Peter M.
"The Meta-Aesthetic of Popular Science Fiction Film." Extrapolation , Winter1988, Vol. 29 Issue 4, p349-364, 16p
UC users only
The article examines science fiction films including "Starman," "E.T.: The Extra-Terrestrial" and "The Man Who Fell to Earth." The motion picture "The Man Who Fell to Earth" functions as a parable, which aims to question the convictions of the industrial culture. On the other hand, "E.T.: The Extra-Terrestrial" is a myth about the friendship of an alien and a human being.

Magistrale, Anthony.
"Innocence Unrewarded: A Note on E. T. and the Myth of Adolescence." Science-Fiction Studies. 11 (2 (33)): 223-225. 1984 July.

Mandal, Somdatta.
"The Curious Case of 'The Alien': Satyajit Ray vs. Steven Spielberg." Asian Cinema. 10 (2): 116-29. 1999 Spring-Summer.

McCarthy, Todd
"Sand castles." Film Comment Vol XVIII nr 3 (May-June 1982); p 53-59
Steven Spielberg discusses his various roles as writer, producer and director on a number of recent films, esp. "E.T." and "Poltergeist".

McClean, Shilo T.
"ET 2 AI : Steven Spielberg." In: Digital storytelling : the narrative power of visual effects in film / Shilo T. McClean. Cambridge, Mass. : MIT Press, 2007.
Main Stack TR858.M348 2007

Neustadter, Roger.
"Phone Home--From Childhood Amnesia to the Catcher in Sci-Fi--The Transformation of Childhood in Contemporary Science Fiction Films." Youth & Society, Mar89, Vol. 20 Issue 3, p227, 14p
UC users only
Examines the depiction of children in science fiction films from the 1950s to the 1980s. Notion of science fiction; Changes in the image of children in science fiction films; Loss of childhood in society according to social critics.

Rushing, Janice Hocker.
"E. T. as Rhetorical Transcendence." The Quarterly Journal of Speech. 71 (2): 188-203. 1985 May.

Russell, Patricia Read.
"Parallel Romantic Fantasies: Barrie's Peter Pan and Spielberg's E.T.: The Extraterrestrial." Children's Literature Association Quarterly. 8 (4): 28-30. 1983 Winter.

Sebeok, Thomas A.
"Enter Textuality: Echoes from the Extraterrestrial." Georgetown University Round Table on Languages and Linguistics. : 175-180. 1984. pgs. 175-180.

Tomasulo, Frank P.
"The Gospel according to Spielberg in E.T.: The Extra-Terrestrial." Quarterly Review of Film & Video; 2001, Vol. 18 Issue 3, p273, 10p
UC users only


Biskind, Peter
"Jaws: Between the teeth."Jump Cut nr 9 (Oct-Dec 1975); p 1,25
Analysis of the latent sexual themes in 'Jaws'

Bowles, S.E.
"The Exorcist and Jaws." Literature/Film Quarterly Vol IV nr 3 (Summer 1976); p 196-214
Part 1 discusses similar themes and cinematic techniques; Part 2 compares adaptations of the source novels.

Caputi, J.
"Jaws as patriarchal myth." Journal of Popular Film and Television Vol VI nr 4 (1978); p 305-326
A sexist approach to "Jaws". Views film as male vanquishment of the female as symbolized by a sea monster.

Diaz-Cuesta, Jose.
"A Reconstructive Analysis of the Masculinities Represented in Steven Spielberg's Jaws." B. A. S.: British and American Studies/Revista de Studii Britanice si Americane. 9: 179-87. 2003.

Frentz, Thomas S.
"Rushing, Janice Hocker. Integrating Ideology and Archetype in Rhetorical Criticism, Part II: A Case Study of Jaws." The Quarterly Journal of Speech. 79 (1): 61-81. 1993 Feb.

Heath, Stephen.
"Jaws, ideology and film theory." Framework: The Journal of Cinema & Media, Autumn76 Issue 4, p25-27, 3p

Hoberman, J.
"Nashville contra Jaws, or 'The Imagination of Disaster' Revisited." In: The last great American picture show: new Hollywood cinema in the 1970s / edited by Thomas Elsaesser, Alexander Horwath, and Noel King. Amsterdam : Amsterdam University Press, 2004.
Full-text available online (UC Berkeley users only)
Main (Gardner) Stacks PN1993.5.U65 L38 2004 AVAILABLE
Pacific Film Archive PN1993.5.U65 L37 2004

Lemkin, Jonathan.
"Archetypal Landscapes and Jaws." In: Planks of reason : essays on the horror film / edited by Barry Keith Grant. Metuchen, N.J. : Scarecrow Press, 1984.
Main Stack PN1995.9.H6.P56 1984
Moffitt PN1995.9.H6.P56 1984

Mayer, David (introd.)
"Jaws-Captain Jake's Amity Boat Tours." Theatre Annual: A Journal of Performance Studies. 48: 97-108. 1995 Fall.

Monaco, James
"Jaws." Sight & Sound Vol XLV nr 1 (Winter 1975-76); p 56-57

Rose, James
"In Amity One Can Make a Difference: Steven Spielberg's Jaws." Film Journal, vol. 1, no. 13, pp. [no pagination], Winter 2006

Rubey, Dan
"Jaws. The jaws in the mirror." Jump Cut nr 10-11 (Summer 1976); p 20-23
Analysis of the themes of sex and violence which 'articulate the concerns and fears of our society' in "Jaws".

Torry, Robert.
"Therapeutic Narrative: The Wild Bunch, Jaws, and Vietnam." The Velvet Light Trap. 31: 27-38. 1993 Spring.
"The wild bunch" and "Jaws" seen as containing symbolic elements, of differing complexity and political outlook, relating to the effects of the Vietnam War on US society.

Willson, R.
"Jaws as submarine movie." Jump Cut nr 15 (1977); p 32-33

Empire of the Sun

Adair, Gilbert.
"Empire of the Sun." Sight & Sound, Spring 1988, Vol. 57, p138-139, 2p

Brown, Betty B.
"Violence Can Be Subtle: Enthymemes Shape an Anti-War Message in Empire of the Sun." In: The image of violence in literature, the media, and society ; selected papers [from the] 1995 conference [of the] Society for the Interdisciplinary Study of Social Imagery. Pueblo, Co. : The Society, 1995.
MAIN: P96.V5 S66 1995;

Gordon, Andrew.
Steven Spielberg's Empire of the Sun: A boy's dream of war." Literature Film Quarterly, 1991, Vol. 19 Issue 4, p210, 12p
UC users only

Gordon, Andrew "Empire of the sun. Steven Spielberg's Empire of the sun : a boy's dream of war" Literature/Film Quarterly, 1991, Vol. 19 Issue 4, p210-221, 12p
UC users only

Gordon, Andrew "Empire of the sun. Steven Spielberg's Empire of the sun : a boy's dream of war" In: The films of Steven Spielberg: critical essays Edited by Charles L.P. Silet. Lanham, Md. : Scarecrow Press, 2002.
MAIN: PN1998.3.S65 F55 2002

Gormlie, Frank "Ballard's nightmares/Spielberg's dreams : Empire of the sun." In: The films of Steven Spielberg: critical essays Edited by Charles L.P. Silet. Lanham, Md. : Scarecrow Press, 2002.
MAIN: PN1998.3.S65 F55 2002

Lawrence, Lynn S.
"War as a holding environment: an analysis of "Empire of the Sun."" Psychoanalytic Review, 1991, Vol. 78 Issue 2, p301-307, 7p

See, Fred.
"Steven Spielberg and the holiness of war." Arizona Quarterly (60:3) 2004, 109-41. (2004)
UC users only
"See questions Steven Spielberg's Schindler's List and Saving Private Ryan, which like Empire of the Sun conclude with the vision of a lost boy returned to the sentimental plentitude of home. In these two films Spielberg continues to explore the contrast of demotic and sacred experience as the pressure of war impinges on icons of faith." [ProQuest]

Jurassic Park

Ansen, David .
"Jurassic Park." (movie reviews) Newsweek June 14, 1993 v121 n24 p64(2)

Baird, Robert.
"Animalizing Jurassic Park's Dinosaurs: Blockbuster Schemata and Cross-Cultural Cognition in the Threat Scene." Cinema Journal. 37 (4): 82-103. 1998.

Balides, Constance.
"Jurassic Post-Fordism: Tall Tales of Economics in the Theme Park." Screen. 41 (2): 139-60. 2000 Summer.
UC users only
A study of the high-profile marketing and economic success of "Jurassic Park" as a strategy for assessing the relationship between economy and culture.

Begley, Sharon
"Here come the DNAsaurs." (cloning the DNA of dinosaurs and the movie 'Jurassic Park; includes related materials) (Cover Story) Newsweek June 14, 1993 v121 n24 p56(6)
"In Steven Spielberg's new movie 'Jurassic Park' scientists clone the DNA of dinosaurs and are able to reproduce the extinct species. There is some validity to the movie's premise. Researchers have been able to clone DNA, but they have not been able to duplicate cells yet." [Expanded Academic Index]

Blake, Richard A.
"Jurassic Park." (movie reviews) America July 3, 1993 v169 n1 p24(1) (1103 words)
UC users only

Briggs, Laura; Kelber-Kaye, Jodi I.
"'There is No Unauthorized Breeding in Jurassic Park': Gender and the Uses of Genetics." NWSA Journal, Fall2000, Vol. 12 Issue 3, p92, 22p
UC users only
"Argues that a great deal of the opposition to genetic technologies expressed in contemporary popular culture is grounded in a profound anti-feminism, through close readings of the film and book versions of 'Jurassic Park' as well as the movie 'Gattaca.' Pitfalls for feminism in contemporary discussions of reproductive technology and genetic determinism." [EBSCO]

Brigham, Ann.
"Consuming Pleasures of Re/Production: Going Behind the Scenes in Spielberg's Jurassic Park and at Universal Studios Theme Park." Genders. 36: 53 paragraphs. 2002.
UC users only

Browne, Malcolm W.
"Visiting 'Jurassic Park' for real." (special effects and technology behind Steven Spielberg motion picture) The New York Times June 6, 1993 v142 s2 pH17(N) pH17(L) col 1 (31 col in)

Buckland, Warren.
"Between Science Fact and Science Fiction: Spielberg's Digital Dinosaurs, Possible Worlds, and the New Aesthetic Realism." Screen. 40 (2): 177-92. 1999 Summer.
An argument is made that special digital effects in Steven Spielberg's "Jurassic Park" and "The lost world" are used not just to create spectacle but to articulate a possible world.

Clark, Nigel.
"Panic Ecology: Nature in the Age of Superconductivity." Theory, Culture & Society. 14 (1): 77-96. 1997 Feb.

Corliss, Richard
"Behind the magic of Jurassic Park." (making of the movie) . Time, April 26, 1993 v141 n17 p49(2)

Dubeck, Leroy W.; Mosheir, Suzanne E.; Boss, Judith E.
"Using science fiction films to teach science at the college level: improving students' attitudes toward science through the magic of the movies." Journal of College Science Teaching v25, n1 (Sept-Oct, 1995):46 (5 pages).
"The popularity of films such as 'Star Wars', 'The Terminator' and 'Jurassic Park' has led to the belief that the use of films would be an excellent method of teaching science at college levels. The method, tried out on an experimental basis, reveals that 75 percent of the students' attitude towards science has changed and around 50 percent showed an improvement in the knowledge of science. Adult learners also grasped scientific principles at a faster rate." [Magazine Index]

Freeland, Cynthia A.
"Feminist Frameworks for Horror Films." In: Post-theory : reconstructing film studies / edited by David Bordwell and Noel Carroll. pp: 195-218 Madison : University of Wisconsin Press, c1996. Wisconsin studies in film.
Grad Svcs PN1994.P6565 1996
Main Stack PN1994.P6565 1996

Gee, Henry
"Jurassic Park." (movie reviews) Nature June 24, 1993 v363 n6431 p681(1)

Goodnight, G. Thomas.
"The Firm, the Park and the University: Fear and Trembling on the Postmodern Trail." The Quarterly Journal of Speech. 81 (3): 267-90. 1995 Aug.

Gordon, Andrew
"Jurassic Park." In: Empire of dreams : the science fiction and fantasy films of Steven Spielberg Lanham, Md. : Rowman & Littlefield, c2008.
MAIN: PN1998.3.S65 G67 2008;
Table of contents

Gould, Stephen Jay
"Dinomania." In: Dinosaur in a haystack : reflections in natural history / by Stephen Jay Gould. 1st ed. New York : Harmony Books, c1995.
Bioscience QH366.2.G659 1995
Moffitt QH366.2.G659 1995

Gould, Stephen Jay
"Jurassic Park." (movie reviews) The New York Review of Books August 12, 1993 v40 n14 p51(6)

Halberstam, Judith.
"Is Jurassic Park a Lesbian Zoo?" On Our Backs. 10 (2): 10-11. 1993 Nov-Dec.

Hawkins, Harriett.
"Paradigms Lost: Chaos, Milton and Jurassic Park." Textual Practice. 8 (2): 255-67. 1994 Summer.

Hinton, Dave.
"Jurassic Park and the Generic Paradox in Science Fiction Film." In: Impossibility fiction : alternativity, extrapolation, speculation / edited by Derek Littlewood, Peter Stockwell. pp: 177-90 Amsterdam ; Atlanta, GA : Rodopi, 1996. Rodopi perspectives on modern literature ; 17
Main Stack PN3433.8.I56 1996

Kauffmann, Stanley.
"Jurassic Park." (movie reviews) The New Republic July 12, 1993 v209 n2 p26(1) (1103 words)
UC users only

Kelleway, Kelley.
"The Defining Dinosaur: The Role of Scientific Value Concepts in Paleontological Popularizations." Popular Culture Review. 14 (1): 45-54. 2003 Feb.

Klawans, Stuart
"Jurassic Park." (movie reviews) The Nation July 19, 1993 v257 n3 p115(2) (1426 words)
UC users only

Lessem, Don.
"Designing dinosaurs: how to bring Jurassic Park to life." (movie) Omni July 1993 v15 n9 p50(6) (3105 words)
UC users only
"Scientists and special effects experts created strikingly real portrayals of dinosaurs for Steven Spielberg's upcoming movie. Computer graphics, robotic models and other technology used in the movie were kept secret to preserve the movie's illusory appeal." [Expanded Academic Index]

Maslin, Janet
"Jurassic Park." (movie reviews) The New York Times June 11, 1993 v142 pB1(N) pC1(L) col 4 (22 col in)

Michie, Allen.
"New Historicism and Jurassic Park." NOTE: Notes on Teaching English. 25 (1): 15-22. 1997 Dec.

Moran, James M.
"A Bone of Contention: Documenting the Prehistoric Subject." In: Collecting visible evidence / Jane M. Gaines and Michael Renov, editors. pp: 255-73. Minneapolis: University of Minnesota Press, c1999. Visible evidence ; v. 6
Main Stack PN1995.9.D6.C535 1999

Newman, Kim
"Jurassic Park." (movie reviews) Sight & Sound Vol III nr 8 (Aug 1993); p 44-45

Palmer, Douglas
"Jurassic Park." (movie reviews) New Scientist July 3, 1993 v139 n1880 p43(2)

Place, V.
"Supernatural thing." Film Comment Vol XXIX nr 5 (Sept-Oct 1993); p 8-10

Romney, Jonathan.
"Jurassic Park." (movie reviews) New Statesman & Society July 16, 1993 v6 n261 p34(2) (1065 words)

Romney, Jonathan.
"The lost world Jurassic Park." (movie reviews) Sight & Sound Vol VII nr 7 (July 1997); p 44-46

Sellors, C. Paul.
"The Impossibility of Science Fiction: Against Buckland's Possible Worlds." Screen. 41 (2): 203-16. 2000 Summer.

Sheehan, Henry.
"The Fears of Children." In: Action/spectacle cinema : a Sight and sound reader / edited by Jose Arroyo. pp: 188-90 London : British Film Institute, 2000.
Main Stack PN1995.A259 2000

Sheehan, Henry.
"The Fears of Children." (Steven Spielberg's 'Jurrasic Park') Henry Sheehan. Sight and Sound July 1993 v3 n7 p10(1)
" The giant dinosaurs in Steven Spielberg's movie 'Jurassic Park' primarily aim to capture children, and death hovers around the children in two terrifying scenes in the form of a Tyrannosaurus rex and velociraptors. Spielberg has sometimes dispensed with logic to bring children into the scene. The movie gives a glimpse of the darker side of the world today." [Expanded Academic Index]

Simon, John.
"Jurassic Park." (movie reviews) National Review July 19, 1993 v45 n14 p61(2) (830 words)
UC users only

Stern, Megan.
"Jurassic Park and the moveable feast of science." Science as Culture, 13, no. 3 (Sep, 2004): 347-72
UC users only

Sudan, Rajani.
"Technophallia." Camera Obscura: A Journal of Feminism, Culture, and Media Studies. 40-41: 105-128. 1997 May.
UC users only

Wollen, Peter.
"Theme Park and Variations." In: Action/spectacle cinema : a Sight and sound reader / edited by Jose Arroyo. pp: 182-87 London : British Film Institute, 2000.
Main Stack PN1995.A259 2000

Wollen, Peter.
"Theme Park and Variations." Sight & Sound Vol III nr 7 (July 1993); p 6-9
On the history of dinosaur attractions and theme parks, horror and monster movies, comparing "Jurassic Park" to "The birds".

Indiana Jones Films

Aronstein, Susan.
"'Not Exactly a Knight': Arthurian Narrative and Recuperative Politics in the Indiana Jones Trilogy." Cinema Journal. 34 (4): 3-30. 1995 Summer.
UC users only

Biskind, P.
"Blockbuster: the last crusade." In: Seeing through movies / Mark Crispin Miller, editor. New York : Pantheon Books, 1990.
Main Stack PN1994.S47 1990
Moffitt PN1994.S47 1990
PFA PN1994.S47 1990

Dean, Carolyn. Leibsohn, Dana.
"Hybridity and Its Discontents: Considering Visual Culture in Colonial Spanish America." Colonial Latin American Review. 12 (1): 5-35. 2003 June.

Gordon, Andrew
"Indiana Jones and the Temple of Doom (1984): Bad Medicine." In: Empire of dreams : the science fiction and fantasy films of Steven Spielberg Lanham, Md. : Rowman & Littlefield, c2008.
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Gordon, Andrew
"Indiana Jones and the Last Crusade (1989): Raiders of the Lost Father." In: Empire of dreams : the science fiction and fantasy films of Steven Spielberg Lanham, Md. : Rowman & Littlefield, c2008.
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Gordon, Andrew
"Raiders of the Lost Ark: Totem and Taboo." In: Empire of dreams : the science fiction and fantasy films of Steven Spielberg Lanham, Md. : Rowman & Littlefield, c2008.
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Jacobson, Harlan
"Two for the rude." Film Comment Vol XX nr 4 (July-Aug 1984); p 49-51
Examines "Indiana Jones and the temple of doom" and "Gremlins" as reflections of the US social and cultural climate.

Kael, Pauline
"A breeze, a bawd, a bounty" In: State of the art / Pauline Kael. 1st ed. New York : Dutton, c1985.
Main Stack PN1995.K2527 1985

Kotwal, Kaizaad
"Steven Spielberg's Indiana Jones and the Temple of Doom as Virtual Reality: The Orientalist and Colonial Legacies of Gunga Din." Film Journal, vol. 1, no. 12, pp. [no pagination], April 2005

Lovell, Alan Cinema entertainment [electronic resource] : essays on audiences, films and film-makers / Alan Lovel Maidenhead, England ; New York : Open University Press, 2009.

Moss, Mark
"Indiana Jones and the Museums of Imperialism." Popular Culture Review, vol. 12, no. 2, pp. 111-19, August 2001.

Negra, Dianne.
"Negotiating Gender in Quest Narratives and Family Dramas: Raiders of the Lost Ark, On Golden Pond, and Mommie Dearest." In: American cinema of the 1980s : themes and variations / edited by Stephen Prince. New Brunswick, N.J. : Rutgers University Press, c2007.
Full text available online (UCB users only)
Main (Gardner) Stacks PN1993.5.U6 A8578 2007
Moffitt PN1993.5.U6 A8578 2007

Postone, M.; Traube, E.
"The return of the repressed."Jump Cut nr 30 (Mar 1985); p 12-14
Examines how the racist and sexist ideology of the film is produced.

Rissik, A.
"Steven Spielberg: Indiana Jones and the 007 myth." Films & Filming nr 362 (Nov 1984); p 13
On the two films of S.S. featuring the character of Indiana Jones and discussion of their similarity to the James Bond films.

Rosenbaum, Jonathan.
"Raiders of the lost ark." In: Placing movies: the practice of film criticism / Jonathan Rosenbaum Berkeley : University of California Press, c1995
Full text available [UCB users only]
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Roth, Lane.
"Raiders of the Lost Archetype: The Quest and the Shadow." Studies in the Humanities. 10 (1): 13-21. 1983 June.

Roth, Lane.
"Raiders of the lost ark. Raiders of the lost archetype : the quest and the shadow." In: The films of Steven Spielberg: critical essays Edited by Charles L.P. Silet. Lanham, Md. : Scarecrow Press, 2002.
MAIN: PN1998.3.S65 F55 2002

Sergi, Gianluca Lovell, Alan
"Steven Spielberg, Indiana Jones and the Holocaust" In: Cinema Entertainment : Essays on Audiences, Films, and Film Makers Berkshire: Open University Press, 2009
Full text available online (UCB users only)

Shone, Tom
"Raider of his lost art."Modern Review Vol I nr 10 (Aug-Sept 1993); p 3-4

Stephens, Chuck
"Spielberg's Lost world: franchise fatherhood, a world without dung."Film Comment Vol XXXIII nr 4 (July-Aug 1997); p 12-14
Full text available online (UCB users only)

Tomasulo, Frank P.
"Mr. Jones goes to Washington: myth and religion in Raiders of the lost ark." Quarterly Review of Film Studies Vol VII nr 4 (Fall 1982); p 331-340
On "Raiders of the lost ark" as a film which masks and denies the problems of its age by establishing a trans-historical ideology.

Zimmerman, Patricia.
"Soldiers of Fortune: Lucas, Spielberg, Indiana Jones, and Raiders of the Lost Ark." Wide Angle: A Film Quarterly of Theory, Criticism, and Practice. 6 (2): 34-39. 1984.

Minority Report

Aichele, George.
"The Possibility of Error: Minority Report and the Gospel of Mark." Biblical Interpretation, 2006, Vol. 14 Issue 1/2, p143-157, 15p
UC users only

Ansen, David
"Murder on the Spielberg Express: A fleet, darkly thrilling jolt of future shock." ('Minority Report') (movie review) Newsweek July 1, 2002 p57 (622 words)

Atkinson, Paul.
"The Visualisation of Utopia in Recent Science Fiction Film." Colloquy: Text Theory Critique, Dec2007 Issue 14, p5-20, 16p
UC users only

Bakewell, Geoff
"The One-Eyed Man is King: Oedipal Vision in Minority Report." Arethusa. Winter 2008. Vol. 41, Iss. 1; p. 95 (18 pages)

Berkemeier, Christian
"Kingdoms of the Blind; Technology and Vision in Douglas Coupland's Girlfriend in a Coma and Stephen Spielberg's Minority Report." In: The holodeck in the garden : science and technology in contemporary American fiction / edited by Peter Freese & Charles B. Harris. 1st ed. [Normal, Ill.] : Dalkey Archive Press, 2004.
Main Stack PS374.S33.H65 2004

Chang, Chris.
"Future shock: Steven Spielberg's Minority Report is in. Find out how it will make you a better person." (movie review) Film Comment July-August 2002 v38 i4 p44(2) (1819 words)
UC users only

Cooper, Mark Garrett .
"The contradictions of Minority Report." Film Criticism Winter 2003 v28 i2 p24(18) (6310 words)
UC users only

Corliss, Richard
"No Artificial Intelligence; Just Smart Fun." ('Minority Report')(The Arts/Show Business) (movie review) Time June 24, 2002 v159 i25 p60+ (618 words)

Dillman, Joanne Clarke.
"Minority Report: Narrative, Images, and Dead Women." Women's Studies, Jun2007, Vol. 36 Issue 4, p229-249, 21p
UC users only

Felperin, Leslie.
"Minority Report." (review) Sight and Sound August 2002 v12 i8 p44(2)

Friedman, Lester D.
"Minority Report: A Dystopic Vision." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 27: (no pagination). 2003 July-Aug.

Gordon, Andrew
"Minority Report." In: Empire of dreams : the science fiction and fantasy films of Steven Spielberg Lanham, Md. : Rowman & Littlefield, c2008.
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Grusin, Richard
"Premediation." Criticism; Winter2004, Vol. 46 Issue 1, p17-39, 23p

Hall, Martin
"Time and the Fragmented Subject in Minority Report." Rhizomes: Cultural Studies in Emerging Knowledge, vol. 8, pp. 15 paragraphs, Spring 2004.

Huiskamp, Gerard. On Infinite Justice and Anticipatory Huiskamp, Gerard. Self-Defense: "Minority Report" on the Bush Administrationís New "National Security Strategy of the United States". Conference Papers -- American Political Science Association, 2003 Annual Meeting, Philadelphia, p1-33, 34p
UC users only

James, Nick.
"An Eye for an Eye." Sight and Sound. 12 (8): 12-15. 2002 Aug.

Johnson, Brian D.
"Premeditation Police: Spielberg And Cruise Team Up For An Orwellian Tale Of Oracles And Murder." (Steven Spielberg And Tom Cruise/Minority Report) Maclean's July 1, 2002 P87 (721 Words)
UC users only

Kauffmann, Stanley.
"On Films - Spielberg's Future." (Minority Report) The New Republic July 22, 2002 p30 (1294 words)
UC users only

Kerr, Philip.
"Crime watch: Philip Kerr finds some philosophical inconsistencies at the heart of Minority Report." (movie review) New Statesman (1996) July 8, 2002 v131 i4595 p45(1) (883 words)
UC users only

Klawans Stuart.
"Minority Report." (review) The Nation July 22, 2002 v275 i4 p34 (1831 words)

Lane, Anthony
"Whowillhavedunit." ('Minority Report') (Movie Review) The New Yorker July 1, 2002 Pna (1540 Words)

Mann, Karen B.
"Lost Boys and Girls in Spielbergs Minority Report." JNT, Summer2005, Vol. 35 Issue 2, p196-217, 22p

MacNeil, William P.
"Precrime Never Pays! ĎLaw and Economicsí in Minority Report." Continuum: Journal of Media & Cultural Studies, Jun2005, Vol. 19 Issue 2, p201-219, 19p
UC users only
Also in: Lex populi : the jurisprudence of popular culture / William P. MacNeil Stanford, Calif. : Stanford University Press, 2007
Law Lib K487.C8 M33 2007

McCarthy, Todd
"Serious sci-fi makes for tough pre-Cog slog." ('Minority Report')_(movie review) Variety June 24, 2002 v387 i6 p25(2) (1975 words)
UC users only

Mitchell, Elvis
"Halting crime in advance has its perils." (Minority Report) (movie review) The New York Times June 21, 2002 s0 pB1(N) pE1(L) col 1 (40 col in)

Parker, James.
"Future imperfect: Minority Report--the story and the film--misses the mark." (The Critics Film). (movie review) The American Prospect August 12, 2002 v13 i14 p31(2) (1435 words)

Robinson, Jeremy
"Steven Spielberg meets Philip K. Dick : Minority report." In: Blade runner and the cinema of Philip K. Dick / Jeremy Mark Robinson. Crescent Moon Pub., 2009.
Main (Gardner) Stacks PS3554.I3 Z857 2009

Sánchez-Escalonilla, Antonio.
"Hollywood and the Rhetoric of Panic: The Popular Genres of Action and Fantasy in the Wake of the 9/11 Attacks." Journal of Popular Film & Television, Spring2010, Vol. 38 Issue 1, p10-20, 11p
UC users only

Sh, Matthew
"Is there a Minority Report?, or: What is Subjectivity?" Other Voices: The (e) Journal of Cultural Criticism; 2007, Vol. 3 Issue 2, p4-4, 1p
UC users only
The author discusses the issue of subjectivity in the film "Minority Report," directed by Stephen Spielberg and starring Tom Cruise. He explains the concept of subjectivity according to Slavoj Zizek. He addresses a number of moral questions concerning the film. He mentions the human inability to predict future.

Sutherland, John.
"Can you see the precog turning?" (Minority Report) TLS. Times Literary Supplement July 12, 2002 i5180 p18(1)

Sutton, Brian.
"Sophocles's Oedipus the King and Spielberg's Minority Report."Explicator, vol. 63, no. 4, pp. 194-97, Summer 2005.
UC users only
"Sutton examines Sophocles's Oedipus the King and Steven Spielberg's Minority Report. While it would be an exaggeration to call Minority Report a futuristic retelling of the Oedipus story, the film does borrow most of the central elements of Sophocles's play. In particular, the play and the film share an emphasis on literal and symbolic vision and blindness, a plot device in which a protagonist is told he will commit a murder in the future, and a thematic concern with fate and free will." [Proquest]

Weber, Cynthia.
"Securitising the Unconscious: The Bush Doctrine of Preemption and Minority Report." Geopolitics, Autumn2005, Vol. 10 Issue 3, p482-499, 18p
UC users only

Wood, Aylish
"The Metaphysical Fabric that Binds Us." New Review of Film & Television Studies; May2004, Vol. 2 Issue 1, p1-18, 18p
UC users only


Alleva, Richard.
"Making History: MUNICH' & 'SOPHIE SCHOLL: THE FINAL DAYS'.(Movie review)." Commonweal 133.5 (March 10, 2006): 17(2).
UC users only
"Conversely, when a Palestinian terrorist expounds his mission to a man he considers sympathetic to his cause (in reality Avner, the Mossad squad leader incognito), his diatribe is a tissue of apocalyptic fantasy and fanaticism, fired by idealism to be sure, but indifferent to innocent bystanders. (Her excuse is that she was attending her sister's funeral, but one of her own subordinates brushes this aside.) I have no doubt that Meir was a tough cookie but the script makes her sound like an apologist for lynching ("You tell me what laws protect people like these") rather than a responsible leader sincerely wrestling with a moral conundrum." [ProQuest]

Beck, Bernard.
"A Hill of Beans in This Crazy World: Personal Scruples and Global Realities in Syriana, The Constant Gardener, and Munich." Multicultural Perspectives, 2006, Vol. 8 Issue 4, p25-28, 4p
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B., Benjamin
"The Price of Revenge." American Cinematographer v. 87 no. 2 (February 2006) p. 32-43
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"Munich, directed by Steven Spielberg and shot by his longtime collaborator Janusz Kaminski, ASC, examines the corrosive effects of retribution on an Israeli assassin stalking the Palestinian terrorists behind the 1972 Olympics massacre. The majority of the film was shot at real locations, and Kaminski maintains that the period set dressing did a great deal to define the film's look. The semidocumentary footage of the Munich attack was treated with bleach bypass, resulting in nearly colorless images. The protagonist's transformation is reflected through lighting, color, and texture, and the various locations he visits are defined with a specific color and texture to help orient viewers. For Munich, Kaminski added a zoom lens to his standard repertoire, and the filmmakers opted to push the boundaries and use huge zooms in and out, re-creating a 1970s camera style." [Art Index]

Brand, Roy.
"Identification with Victimhood in Recent Cinema." Culture, Theory & Critique, Oct2008, Vol. 49 Issue 2, p165-181, 17p
UC users only

"Debating Politics at the Movies." [Editorial]. Cineaste v. 31 no. 2 (Spring 2006) p. 4
UC users only
"The controversy surrounding Steven Spielberg's Munich is a fascinating instance of how a film can become a political football for ideologs and political pundits. Based on George Jonas's book Vengeance, the film focuses on Israel's counterterrorist campaign to assassinate those responsible for the Palestinian massacre of 11 Israeli athletes at the 1972 Olympic Games in Munich, Germany. Most of the political debate around it has centered on matters of whether it unduly "humanizes" the Palestinians or, worse still, suggests a "moral equivalence" between the Palestinian terrorists and the Israeli counterterrorists. It is within this rhetorical context that the film has been seized upon by many right-wing commentators as a vehicle for their well-worn views, and it has also been the target of some surprisingly vicious personal attacks on both Spielberg and screenplay coauthor Tony Kushner. Naturally, it is not above criticism--it is a decidedly problematic work--but this distasteful demagoguery is to be condemned." [Art Index]

Dickstein, Morris.
"The politics of the thriller: On Munich and Moral Ambiguity." Dissent 53.2 (Spring 2006): 89(4).
UC users only
Political thrillers thrive on the melodrama of global political struggle, especially the subterranean world of espionage, assassination and dirty tricks. Steven Spielberg's Munich is about real conspiracy and a case of moral ambiguity for critics.

Diffrient, David Scott.
"Spectator sports and terrorist reports: filming the Munich Olympics, (re)imagining the Munich Massacre." Sport in Society, Mar2008, Vol. 11 Issue 2/3, p311-329, 19p
UC users only

Enright, Robert
"The Reck of History." Border Crossings v. 25 no. 2 (June 2006) p. 20-2
UC users only
"A review article of two films that explore the relationship between Israelis and Palestinians. Steven Spielberg's Munich draws on Golda Meir's decision to assassinate the terrorists responsible for the massacre at the 1972 Olympics in Munich, Germany. Hany Abu-Assad's Paradise Now explores the question of Palestinian suicide bombers. Both films share the same central questions: what level of violence is acceptable in tackling an extremely difficult situation, and what is to be done when circumstances are so completely corrupted that the only meaningful response is an exaggerated one?" [Art Index]

Guttenplan, D.D.
"Beyond the assassins' circle: Spielberg, Kushner and the mature disorientations of 'Munich'.(Arts)(Movie review)." TLS. Times Literary Supplement 5366 (Feb 3, 2006): 16(1).

Hoberman, J.
"Unquiet Americans." Sight & Sound v. ns16 no. 10 (October 2006) p. 20-3
UC users only
"Part of a special section on the film world's response to the terrorist attacks of September 11, 2001. A discussion of how Hollywood and Washington have claimed 9/11 as their own. The first 9/11 film was the event itself, which was televised live and replayed ceaselessly. Then there were camcorder and homemade documentaries produced by filmmakers from Chambers Street to China. More recently, Universal released its feature film United 93, and Paramount launched World Trade Center. Steven Spielberg, however, has proved to be the most interesting political filmmaker in post-9/11 Hollywood. In his terror trilogy--The Terminal, Munich, and War of the Worlds--Spielberg seeks to articulate support for an American foreign policy doctrine that he cannot actually support. The great achievement of the Bush regime has been to prevent an explanation of 9/11 as anything other than its own narrative." [Art Index]

Lerner, Michael.
"Violence for Peace?" Tikkun, Mar/Apr2006, Vol. 21 Issue 2, p9-12, 4p
UC users only

Lee, Nathan.
"Munich." Film Comment v. 42 no. 1 (January/February 2006) p. 74-5
UC users only
"Steven Spielberg's latest film, Munich, is an incredibly skillful thriller. The film's story is told from the point of view of handsome, scrupulous, incredibly polite Jewish agents who assassinate Palestinian terrorists, then meet up to relax, trade pleasantries, and eat a home-cooked communal meal. Avner, played by Eric Bana, is one of the men involved in these missions, which target the masterminds of Black September, the Palestinian terrorist organization whose botched capture of 11 Israeli athletes at the 1972 Munich Olympics finished in a bloodbath. Nonetheless, Munich also asks profound questions about Jewish power and the antagonism between the state and the individual. The film impresses through its own constant negotiation of values, the delicacy with which it guides the audience through an ideological minefield and never allows them off the hook." [Art Index]

Loshitzky, Yosefa.
"The Post-Holocaust Jew in the Age of "The War On Terror": Steven Spielberg's Munich." Journal Of Palestine Studies, Winter2011, Vol. 40 Issue 2, P77-87, 11p
UC users only

Newman, Herta.
"Much ado about Munich.(Movie review)." Midstream 52.3 (May-June 2006): 31(2).

Richter, David H.
"Keeping Company in Hollywood: Ethical Issues in Nonfiction Film." Narrative - Volume 15, Number 2, May 2007, pp. 140-166
UC users only

Rosenberg, Warren.
"Jews and Violence: Images, Ideologies, and Realities." Shofar 25.3 (Spring 2007): 194(4).
UC users only

Schamus, J.
"Next Year in Munich: Zionism, Masculinity, and Diaspora in Spielberg's Epic." Representations no. 100 (Fall 2007) p. 53-66
UC users only

Schickel, Richard; Philadelphia, Desa.
"Spielberg takes on terror." Time, 12/12/2005, Vol. 166 Issue 24, p64-68, 5p
UC users only

Schoenfeld, Gabriel.
"Spielberg's "Munich".(Steven Spielberg)(Movie review)." Commentary 121.2 (Feb 2006): 34(7).
UC users only

Schoenfeld, Gabriel.
"Spielberg's "Munich"" Commentary, Feb2006, Vol. 121 Issue 2, p34-40, 7p
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Sklar, R.
"Munich." Cineaste v. 31 no. 2 (Spring 2006) p. 55-7
UC users only
"A review of Steven Spielberg's film Munich. This flawed film focuses on the events of September 5, 1972, when armed Palestinians from the previously unknown group Black September killed two Israeli athletes and took eleven other hostages at the Olympic summer games in Munich, Germany. With unclear themes, a dim narrative, and surprising infelicities of tone and logic, the film lends itself to many ideological projections or commercial recalculations. It communicates an inchoate and often incoherent political vision that appears inescapably to posit that the long arm of September 5, 1972, points directly toward September 11, 2001." [Art Index]

Thomson, David
"Mission intractable." Sight & Sound v. ns16 no. 2 (February 2006) p. 28-30
UC users only
"Steven Spielberg's Munich, an account of Israel's response to a 1972 Palestinian terrorist attack at the Olympic Games, is an extraordinary attempt to lessen our rage for vengeance. As a revenge film, it demonstrates that the excitement of achievement becomes poisonous." [Art Index]

Trbic, Boris.
"Not Just Sport: The Olympic Games in Film and Media." Screen Education, Spring2008, Issue 51, p82-86, 5p
UC users only

Waltzer, Kenneth
"Spielberg's Munich, Ethics, and Israel." Israel Studies 11.2 (2006) 168-171
UC users only

Wrathall, J.
"Munich." Sight & Sound v. ns16 no. 3 (March 2006) p. 68, 70
UC users only
"Steven Spielberg's expertly structured new film Munich works as a secret-agent thriller in the vein of Mission Impossible, The Bourne Identity, and, in particular, Fred Zinnemann's The Day of the Jackal. Featuring exploding telephones, Swiss safe-deposit boxes, guns disguised as bicycle pumps, and ever-changing European locations, this fictionalized account of Israel's unofficial campaign of revenge against Palestinian activists in Europe following the massacre of Israeli athletes at the 1972 Munich Olympics is a brave and timely film." [Art Index]

Yacowar, Maurice
"Munich of Fact and Fiction." Queen's Quarterly, vol. 113, no. 1, pp. 119-27, Spring 2006

Saving Private Ryan

Alleva, Richard.
"A brutal masterpiece." (Steven Spielberg's movie 'Saving Private Ryan') Commonweal v125, n15 (Sep 11, 1998):29 (2 pages).
UC users only
The movie 'Saving Private Ryan' depicts the carnage of Omaha Beach, France during World War II. Director Steven Spielberg focuses on the horrors of war in trying to tackle indestructible humanity cloaked by indifference. The movie graphically portrays human suffering caused by the war.

Arnold, Martin.
"'Private Ryan' revives a genre." ("Saving Private Ryan" might inspire novelists to go back to war genre) (Living Arts Pages) New York Times v147 (Thu, July 30, 1998):B3(N), E3(L), col 4, 24 col in.

Auster, Albert
"Saving Private Ryan and American triumphalism. (Critical Essay) Journal of Popular Film and Television Summer 2002 v30 i2 p98(7)
UC users only
"The author examined how Saving Private Ryan and its evocation of a victorious America in World War II are used to exalt American arms and the American spirit in the contemporary era. Thus, Saving Private Ryan, which came after the low-key American victories in the Cold War and the Gulf War, was a perfect anodyne for the somewhat equivocal glory of those triumphs." [Expanded Academic Index]

Basinger, Jeanine.
"Translating War: The Combat Film Genre and Saving Private Ryan." Perspectives: American Historical Association Newsletter 1998 36(7): 1, 43-47.
Analyzes the war film genre and suggests how the 1998 film Saving Private Ryan uses the traditional war movie format to ask new questions of the genre and the audience.

Biesecker, Barbara A.
"Remembering World War II: The Rhetoric and Politics of National Commemoration at the Turn of the 21st Century." In: Visual rhetoric : a reader in communication and American culture / Lester C. Olson, Cara A. Finnegan, Diane S. Hope, editors. Los Angeles : Sage, c2008.
Main (Gardner) Stacks P93.5 .V568 2008

Bodnar, John.
"Saving Private Ryan and Postwar Memory in America." American Historical Review. 106(3):805-17. 2001
UC users only
'Although Steven Spielberg's 1998 film Saving Private Ryan portrays American soldiers as good men whose duty to their country bound them to kill - an image portrayed in many World War II-era films - his emphasis on "individual suffering and loss" reflects the late-20th-century phenomenon of recognizing soldiers as victims and provides the backdrop for a discussion of cinematic portrayals of these soldiers from the postwar era through the end of the 20th century. The war brought a recognition of the violent potential of human beings, reflected not only in postwar era films that directly portrayed the consequences of war, but in the increasingly popular film noir genre. While some films immediately after the war portrayed veterans as brutes, Cold War-era films were dominated by images of heroism and the importance of the democratic ideal. Saving Private Ryan's depiction of the trauma of war on the soldiers is thus not novel. It represents, however, a shift in focus from the events of the war to the individuals who fought the war and their portrayal as victims." [America History and Life]

Bremner, Ian.
"Saving Private Ryan." (Review) History Today (Nov, 1998):50.
UC users only

Burnetts, Charles.
"Steven Spielberg's 'feelgood' endings and sentimentality." New Review of Film & Television Studies, Apr2009, Vol. 7 Issue 1, p79-92, 14p
UC users only

Caldwell, Christopher.
"Spielberg at war." (critique of Steven Spielberg's movie 'Saving Private Ryan') Commentary v106, n4 (Oct, 1998):48 (4 pages).
UC users only

Canby, Vincent.
"Saving a nation's pride of being; the horror and honor of a good war." (Steven Spielberg's film, "Saving Private Ryan") (Living Arts Pages. New York Times v147 (Mon, August 10, 1998):B1(N), E1(L), col 5, 40 col in.

Carson, Tom.
"And the Leni Riefenstahl Award for Rabid Nationalism Goes to ..." (Saving Private Ryan) Esquire v131, n3 (March, 1999):70 (1 page).
UC users only
The 1999 motion picture 'Saving Private Ryan' spurred a wave of nationalism across the country after viewing the film about the American conflict overseas in the 1940s. The film tends to glorify the war effort and what it meant to the country in a surreal fashion that borders on science fiction.

Chaffey, Kay Gott.
"Thoughts On the Film Saving Private Ryan." Minerva: Quarterly Report on Women and the Military 1998 16(2): 1-4.
"Highlights the contributions of women pilots, including the experiences of the author, a member of the Women Airforce Service Pilots, during World War II who, while serving in the US Air Transport Command, Ferrying Division, delivered training aircraft, bombers, and fighters throughout the United States and to Britain."

Clooney, Nick
"Saving Private Ryan." In: The movies that changed us : reflections on the screen / Nick Clooney. New York : Atria Books, c2002.
Moffitt PN1993.5.U6 C57 2002
Pacific Film Archive PN1993.5.U6 C57 2002

Cohen, Eliot.
"What combat does to man: private Ryan and its critics." (Steven Spielberg's 'Saving Private Ryan') National Interest, n54 (Winter, 1998):82 (7 pages).
UC users only
"Steven Spielberg's movie 'Saving Private Ryan' provides its audience true understanding into the nature of battle and leadership. Because of the movie's truthful portrayal of the realities of war, the American Legion created an award called 'Spirit of Normandy' for Spielberg and the US Army presented him its highest civilian decoration. However, critics, such as Vincent Canby of the New York Times, Louis Menand of the New York Review of Books, Stephen Ambrose of The New Yorker, John Podhoretz of The Weekly Standard, as well as the conservative Christopher Caldwell, had given the film bad reviews. The movie's themes and Spielberg's skills as a director are discussed." [Expanded Academic Index]

Confessore, Nicholas
"Selling Private Ryan." (social aspects of the portrayal of World War II) The American Prospect Sept 24, 2001 v12 i17 p21
UC users only
"Confessore discusses how writer Stephen Ambrose, with the help of Stephen Spielberg and Tom Brokaw, has introduced Americans to a profoundly distorted view of WWII through his works. A major theme in Ambrose, Brokaw and Spielberg's work is the explicit, ungenerous comparison of the greatest Generation and what Brokaw describes, with evident discomfort, as "another distinctive generation, the Baby Boomers." [ProQuest]

Denby, David.
"Saving Private Ryan." (Review) New York v31, n28 (July 27, 1998):44 (2 pages)

Ditmann, Laurent
"Made You Look: Towards a Critical Evaluation of Steven Spielberg's Saving Private Ryan." Film & History (03603695); Sep-Dec1998, Vol. 28 Issue 3/4, p64-70, 7p
UC users only

Doherty, Thomas.
"Saving Private Ryan." (Review) Cineaste v24, n1 (Winter, 1998):68 (4 pages).
UC users only

Doherty, Thomas.
"Taps at the Millennium: Saving Private Ryan (1998) and Thin Red Line (1998)." In: Projections of war : Hollywood, American culture, and World War II / Thomas Doherty. Doherty, Thomas Patrick. New York : Columbia University Press, c1993.
Main (Gardner) Stacks D743.23 .D63 1993 AVAILABLE
Moffitt D743.23 .D63 1993
Contents via Google books

Eberwein, Robert.
"Bodies, Weapons: Saving Private Ryan." In: Armed forces: masculinity and sexuality in the American war film / Robert Ebe New Brunswick, N.J. : Rutgers University Press, c2007.
Full text available online (UCB users only)

Ehrenhaus, Peter
"Why We Fought: Holocaust Memory in Spielberg's Saving Private Ryan." Critical Studies in Media Communication Sept 2001 v18 i3 p321
"Author's Abstract: COPYRIGHT 2001 Speech Communication Association "Steven Spielberg's film Saving Private Ryan has been criticized for its failure to frame narrative action in terms of national, moral purpose. This criticism can be understood in terms of the constraints that the "Vietnam syndrome" places upon contemporary cinematic narratives of war; Vietnam memory subverts earnest declaration of high national principle. This essay examines how Saving Private Ryan "reillusions" American national identity in the wake of Vietnam by giving presence to an even more distant past. Supported by close textual analysis of key scenes centering upon the sole Jewish character in the film, this reading argues that the specific moral justification for waging war and accepting its horrors and sacrifices found in a moral crusade against the Nazi program of Holocaust. By suturing the Holocaust into the film as its moral foundation, the film participates in the "Americanization " of Holocaust memory, circumvents Vietnam as a source of traumatic memory, manufactures a redemptive national identity, and constructs an ethically usable past in the present." [Expanded Academic Index]

Fussell, Paul.
"The guts, not the glory, of fighting the 'good war.'" (Stephen Spielberg's 'Saving Private Ryan')(Column) Washington Post v121, n207 (Sun, July 26, 1998):C1, col 1, 17 col in. Gabbard, Krin
"Saving Private Ryan too late." In: The end of cinema as we know it : American film in the nineties / edited by Jon Lewis. New York : New York University Press, c2001.
Main Stack PN1993.5.U6.E53 2001

Gabler, Neal.
"'Private Ryan' satisfies our longing for unity." ("Saving Private Ryan") Los Angeles Times v117 (Sun, August 9, 1998):M2, col 4, 28 col in.

Gates, Philippa
"Fighting the Good Fight': The Real and the Moral in the Contemporary Hollywood Combat Film." Quarterly Review of Film and Video, vol. 22, no. 4, pp. 297-310, Fall 2005.
UC users only

Grant, Megan
"War is Hell?" (war according to Hollywood) MEGAN GRANT. Arena Magazine June 1999 p70
"Director Stephen Spielberg's movie 'Saving Private Ryan' is a tribute to the soldiers who fought on the side of good against evil in the Second World War, while Terence Malick's 'The Thin Red Line' depicts war as a meaningless exercise in brutality. The necessity of imagining connective bonds between human beings holds little significance for Malick." [Expanded Academic Index]

Haggith, Toby.
"D-Day Filming -- For Real. A comparison of 'truth' and 'reality' in Saving Private Ryan and combat film by the British Army's Film and Photographic Unit." Film History, 2002, Vol. 14 Issue 3/4, p332, 22p, 12 bw
UC users only

Haggith, Toby.
"Realism, Historical Truth and the War Film: The Case of Saving Private Ryan." In: Repicturing the Second World War : representations in film and television / edited by Michael Paris. Basingstoke : Palgrave Macmillan, 2007.
Main Stack D743.23.R47 2007

Hallet, Brien.
"Saving Private Ryan." Social Alternatives, Apr99, Vol. 18 Issue 2, p68-69, 2p
UC users only

Hammond, Michael
"Saving Private Ryan's 'Special Effect'." In: Action and adventure cinema / edited by Yvonne Tasker. London ; New York : Routledge, 2004.
Main Stack PN1995.9.A3.A28 2004

Hasian Jr.. Marouf
"Nostalgic Longings, Memories of the "Good War," and Cinematic Representations in Saving Private Ryan." Critical Studies in Media Communication Sept 2001 v18 i3 p338
Author's Abstract: COPYRIGHT 2001 Speech Communication Association. "This essay focuses attention on some of the polysemic and polyvalent dimensions of Spielberg's Saving Private Ryan. The author argues that this film needs to be viewed as an intertextual fragment, where audiences, rhetors, and critics co-produce their interpretations of the rhetorical meaning of D-Day and the "Good War." The essay advances the argument that critical memory studies help us understand how various representations and absences in the film allow for a number of different nostalgic and oppositional readings of the film. Because of the ambiguous nature of this cinematic representation, both supporters and detractors could claim that this was a realistic film that supported their own views on warfare." [Expanded Academic Index]

Hertzberg, Hendrik.
"Theatre of war." (Steven Spielberg's movie 'Saving Private Ryan' explores violence and war) New Yorker v74, n21 (July 27, 1998):30 (4 pages).
Steven Spielberg's movie 'Saving Private Ryan' uses filmmaking techniques normally reserved for sensationalistic movies to recreate the feeling and gore of battle. Spielberg's motivations for making the film are explored.

Hodgkins, John.
"In The Wake Of Desert Storm: A Consideration Of Modern World War II Films." Journal of Popular Film and Television 2002 30(2): 74-84.
UC users only
Made in the years following the 1991 war against Iraq, Saving Private Ryan (1998), A Midnight Clear (1992), and The Thin Red Line (1998) all used World War II as a framework within which to comment on an array of issues, ideas, and images generated by Operation Desert Storm.

Hunter, Stephen.
"Steven Spielberg's road to war; with 'Saving Private Ryan,' a firm goodbye to innocence." Washington Post v121, n208 (Mon, July 27, 1998):D1, col 1, 36 col in.

"An Internet Discussion of Saving Private Ryan." Film & History Sep-Dec1998, Vol. 28 Issue 3/4, p72-81, 10p
UC users only

Jaehne, Karen.
"Saving Private Ryan." (Critical Essay) Film Quarterly v53, n1 (Fall, 1999):39.
UC users only

Jameson, Richard T.
"History's eyes: 'Saving Private Ryan.'" (film 'Saving Private Ryan' shows war without glossing over brutality)(Cover Story) Film Comment v34, n5 (Sept-Oct, 1998):20 (4 pages).
UC users only
Steven Speilberg's movie 'Saving Private Ryan' succeeds in restoring World War II as a real historical event, and as part of the US consciousness. The film is also an honest recording of war. Some scenes, however, seem trite.

Kaufman, Gerald.
"Saving Private Ryan." (movie reviews) New Statesman (1996) v127, n4402 (Sept 11, 1998):38 (1 page).
" 'Saving Private Ryan' presents a most accurate account of war in Normandy in 1944 with the 25-minute sequence that portrayed the D-Day invasion on Omaha Beach. The scene was most frightening along with other sequences that depicted attempts to save one man." [Expanded Academic Index]

Kaufman, Gerald.
"War story." (Steven Spielberg's movie 'Saving Private Ryan')(includes related article) New Statesman (1996) v127, n4402 (Sept 11, 1998):38 (3 pages).
UC users only
'Saving Private Ryan' presents a most accurate account of war in Normandy in 1944 with the 25-minute sequence that portrayed the D-Day invasion on Omaha Beach. The scene was most frightening along with other sequences that depicted attempts to save one man.

Kauffmann, Stanley.
"Saving Private Ryan." (movie reviews) New Republic v219, n7-8 (August 17, 1998):24 (1 page).
UC users only

Klawans, Stuart.
"Saving Private Ryan." (movie reviews) Nation v267, n6 (August 24, 1998):33 (2 pages).

Kodat, Catherine Gunther.
"Saving Private Property: Steven Spielberg's American Dreamworks." Representations 2000 (71): 77-105.
UC users only
Context is the key to reading movies such as Steven Spielberg's Saving Private Ryan (1998) and Amistad (1997), both of which have been criticized by historians for misinterpreting history.

Krauthammer, Charles.
"Debating 'Pvt. Ryan'." (assertion that film, 'Saving Private Ryan,' is a realistic and subtly patriotic motion picture)(Column) Washington Post v121 (Fri, August 14, 1998):A25, col 1, 15 col in.

Landon, Phil
"Realism, Genre, and "Saving Private Ryan"." Film & History 28:3-4 (1998) p. 58-62 Search articles in this journal
UC users only

Lyman, Rick.
"True to the timeless fact that war is hell; in 'Saving Private Ryan,' Steven Spielberg and company fought against the combat-movie stereotypes." New York Times v147, sec2 (Sun, July 19, 1998):AR11(N), AR11(L), col 1, 58 col in.

Maslin, Janet.
"By being honest about violence, Spielberg wins; the startling images of 'Private Ryan' and the eerily familiar violence at the Capitol negate Hollywood's trigger-happy fantasies." New York Times v147, sec2 (Sun, August 2, 1998):AR9(N), AR9(L), col 1, 19 col in.

McDonald, Neil
"Revitalizing the Combat Movie." Quadrant March 1999 v43 i3 p71(1)
"Stephen Spielberg's film 'Saving Private Ryan' accurately recreates many events of the D-Day invasion of Normandy in 1944. Spielberg based the search for a soldier on an actual event, but the film's purpose is to explore relationships between squad members. Although the film's climax is unlike any engagement following D-Day, it is similar to many earlier actions. The film shows clear anti-British bias, despite the fact that approximately half the invasion forcers were British. Nevertheless, 'Saving Private Ryan' is one of the best combat movies made." [Expanded Academic Index]

Menand, Louis.
"Jerry don't surf." ("Saving Private Ryan") New York Review of Books v45, n14 (Sept 24, 1998):7 (2 pages).
Steven Spielberg's movie Saving Private Ryan is regarded as a war film that is devoid of any sentimentality or patriotic undertones. The film's story revolves around eight American war survivors who were ordered to search for a private called Ryan.

Metcalf, Roy.
"So Costly a Sacrifice: "Saving Private Ryan"." (Motion picture) Social Policy v29, n4 (Summer, 1999):44.
UC users only

Owen, Susan A.
"Memory, war and American identity: Saving Private Ryan as cinematic jeremiad." Critical Studies in Media Communication Sept 2002 v19 i3 p249(34)
"The American jeremiad long has been an established rhetorical form that operates as a corrective to conditions gone awry. In response to a "falling away," the jeremiad issues a call to the community to return home to idealized foundational principles. The American experience in Vietnam produced in the national community a crisis of faith in foundational principles and precipitated a crisis of representation of national identity. This essay argues that the secular American jeremiad emerges prominently in Steven Spielberg's film Saving Private Ryan. Through a close reading of the film, contextualized by the preceding twenty years of popular cinematic lamentation following Vietnam, I argue that the film operates, in part, as a rhetorically skillful response to the post-Vietnam crisis of national identity. I further argue that Spielberg both acknowledges and appropriates the crisis, offering viewing audiences a "way home" to mythic America. The essay concludes with a discussion of the tensions between the conservative mandate in the jeremiadic form and the possibilities for social transformation." [Expanded Academic Index]

Prior, William J.
""We aren't here to do the decent thing": Saving Private Ryan and the Morality of War." Parameters Autumn 2000 v30 i3 p138
UC users only

Rothstein, Edward.
"Rescuing the war hero from 1990's skepticism." ("Saving Private Ryan") (Living Arts Pages) New York Times v147 (Mon, August 3, 1998):B2(N), col 3, 23 col in.

Royle, Trevor.
"Gunning for 'Private Ryan'." (motion picture 'Private Ryan' shows slanted view of Invasion of Normandy)(reprinted from 'Scotland on Sunday' Aug. 9, 1998) World Press Review (Nov 1, 1998):31 (1 page).

Schickel, Richard.
"Reel war: Steven Spielberg peers at the face of battle as Hollywood never has before." ('Saving Private Ryan') Time v152, n4 (July 27, 1998):56 (4 pages).
Director Steven Spielberg, in his motion picture 'Saving Private Ryan,' has created an epic, and yet very personal, account of military action during World War II. Beginning with a terror-filled and yet compelling landing on Omaha Beach, the movie transcends the usual genre of war films.

Schubart, Rikke
"Storytelling for a Nation: Spielberg, Memory, and the Narration of War." In: Politicotainment : television's take on the real New York : Peter Lang, c2007.
MAIN: PN1992.6 .P63 2007
Table of contents

See, Fred.
"Steven Spielberg and the holiness of war." Arizona Quarterly (60:3) 2004, 109-41. (2004)
UC users only
"See questions Steven Spielberg's Schindler's List and Saving Private Ryan, which like Empire of the Sun conclude with the vision of a lost boy returned to the sentimental plentitude of home. In these two films Spielberg continues to explore the contrast of demotic and sacred experience as the pressure of war impinges on icons of faith." [ProQuest]

Shargel, Raphael.
"Saving Private Ryan." (movie reviews) New Leader v81, n10 (Sept 7, 1998):20 (2 pages).
UC users only

Shephard, Ben.
"Saving Private Ryan." (movie reviews) TLS. Times Literary Supplement, n4981 (Sep 18, 1998):23 (1 page).

Simon, John.
"Saving Private Ryan." (movie reviews) National Review v50, n15 (August 17, 1998):52 (1 page).
UC users only

Snow, Richard F.
"Family heroes." (tribute to Steven Speilberg's film 'Saving Private Ryan')(Editorial) American Heritage v49, n7 (Nov, 1998):9 (1 page).
UC users only
Steven Spielberg's film 'Saving Private Ryan' is one of the most remarkable war films ever made. It allows generations to share memories and gratitude for the D-Day sacrifice made by American soldiers. It has helped to generate and preserve oral and written histories by veterans whose numbers are declining.

Spielberg, Steven.
"Of Guts and Glory." (war films) Newsweek v131, n25A (Summer, 1998):66 (1 page).
Filmmaker Steven Spielberg discusses the war films that have influenced him. He reveals that William Wellman's 'Battleground' was the movie that inspired him to direct his own war films.

Suid, Lawrence H.
"Saving Private Ryan." (movie reviews) Journal of American History v85, n3 (Dec, 1998):1185 (2 pages).
UC users only

Tomasulo. Frank P.
"Empire of the gun: Steven Spielberg's Saving Private Ryan and American chauvinism." In: The end of cinema as we know it : American film in the nineties / edited by Jon Lewis. New York : New York University Press, c2001.
Main Stack PN1993.5.U6.E53 2001

Toplin, Robert Brent
"Hollywood's D-Day from the Perspective of the 1960s and the 1990s: The Longest Day and Saving Private Ryan." Film and History: An Interdisciplinary Journal of Film and Television Studies, vol. 36, no. 2, pp. 25-29, 2006
UCB users only

Travers, Peter.
"Saving Private Ryan." (movie reviews) Rolling Stone, n792 (August 6, 1998):76 (1 page).

Valdez Moses, Michael.
"Virtual Warriors: Nostalgia, the battlefield, and boomer cinema." (Culture and Reviews). Reason Jan 2002 v33 i8 p54(7) (4062 words)
UC users only

Vandervort, Bruce.
"Saving Private Ryan." (movie reviews) Journal of Military History (Oct, 1998):894.

Wallace, Amy.
"'Ryan' ends vets' years of silence." (influence of the film 'Saving Private Ryan') Los Angeles Times v117 (Thu, August 6, 1998):A1, col 1, 42 col in.

Wrathall, John.
"Saving Private Ryan." (movie reviews) Sight and Sound v8, n9 (Sept, 1998):34 (3 pages).
UCB users only

Zinn, Howard.
"Private Ryan saves war." (criticism for film 'Saving Private Ryan' which fails to speak out against the horrors of war) Progressive v62, n10 (Oct, 1998):38 (2 pages).
UCB users only
The problem with 'Saving Private Ryan' is that it glorifies the reasons for going to war. While the ugly and grotesque side of battle is shown, it is justified because the US cause was good. It does not reflect upon the other atrocities that the 'good guys' committed.

Zinn, Howard.
"Saving Private Ryan." (Crossing Lines: Revisioning U.S. Race Relations. Social Justice v25, n3 (Fall, 1998):138 (5 pages).
'Saving Private Ryan' exploited the suffering of men in war along with the glory of military heroism which should be buried along with dead soldiers at Arlington Cemetery. The film critics were wrong when they said that 'Saving Private Ryan' is the greatest war movie ever made. They are merely being superficial when they gloss over the cinematic effect of blood and chaos surrounding the Omaha Beach landing. More importantly, the film fails to ask if future generations will prevent such scenes from ever happening again.

Zinn, Howard
"Saving Private Ryan." In: Howard Zinn on war / Howard Zinn. New York : Seven Stories Press, 2001.
Main (Gardner) Stacks E745 .Z56 2001

Schindler's List


Avisar, Ilan
"Holocaust Movies and the Politics of Collective Memory." In: Thinking About the Holocaust: After Half a Century / edited by Alvin H. Rosenfeld. pp: 38-58. Bloomington: Indiana University Press, c1997. Series title: Jewish literature and culture.
UCB Main D804.348 .T55 1997.

Ball, Karyn
"For and against the Bilderverbot : the rhetoric of "unrepresentability" and remediated "authenticity" in the German reception of Steven Spielberg's Schindler's list." In: Visualizing the Holocaust : documents, aesthetics, memory / edited by David Bathrick, Brad Prager, and Michael D. Richardson. Rochester N.Y. : Camden House, 2008.
Main (Gardner) Stacks D804.3 .V57 2008

Cheyette, Bryan.
"The Uncertain Certainty of Schindler's List." In: Spielberg's Holocaust: Critical Perspectives on Schindler's List Edited by Yosefa Loshitzky. pp: 226-38. Bloomington: Indiana University Press, c1997.
Main Stack PN1997.S3133.S65 1997
Moffitt PN1997.S3133.S65 1997226-38.

Cole, Tim.
Selling the Holocaust : from Auschwitz to Schindler : how history is bought, packaged, and sold New York : Routledge, 1999.
Main (Gardner) Stacks D804.3 .C6495 1999
Contents via Google books

Davis, Todd F.; Womack, Kenneth.
"The List Is Life: Schindler's List as Ethical Construct." In: Mapping the ethical turn : a reader in ethics, culture, and literary theory / edited by Todd F. Davis and Kenneth Womack. pp: 151-64 Charlottesville : University Press of Virginia, 2001.
Main Stack PN98.M67.M37 2001
Contents via Google books

"Der gute Deutsche": Dokumente zur Diskussion um Steven Spielbergs "Schindlers Liste" in Deutschland
Ausgewahlt und mit einem Nachwort herausgegeben von Christoph Weiss. St. Ingbert [Germany]: Rohrig, c1995.
UCB Main PN1997.S3133 G88 1995

Doneson, Judith E.
"Whose History Is It?" In: Holocaust in American film / Judith E. Doneson. Philadelphia : Jewish Publication Society, 1987.
Main (Gardner) Stacks PN1995.9.H53 D661 1987
Moffitt PN1995.9.H53 D66 1987
Contents via Google books

Eisenstein, Paul.
Traumatic encounters : Holocaust representation and the Hegelian subject / Paul Eisenstein. Albany : State University of New York Press, c2003.
Main (Gardner) Stacks PN56.H55 E48 2003

Elsaesser, Thomas.
"Subject Positions, Speaking Positions; From Holocaust, Our Hitler, and Heimat to Shoah and Schindler's List." In: The Persistence of History: Cinema, Television, and the Modern Event / edited by Vivian Sobchack. pp: 145-83. New York: Routledge, 1996. AFI film readers.
Main Stack PN1995.2.P47 1996

Farrell, Kirby
"The economies of Schindler's list." In: The films of Steven Spielberg: critical essays
Edited by Charles L.P. Silet. Lanham, Md. : Scarecrow Press, 2002.
MAIN: PN1998.3.S65 F55 2002

Federman, Raymond
"Notes Scribbled in the Dark While Watching Schindlerís List, or What Price Schindlerís Pots & Pans?" In: After yesterday's crash : the avant-pop anthology / edited by Larry McCaffery. New York : Penguin Books, 1995.
Main (Gardner) Stacks PS536.2 .A35 1995

Finkelstein, Norman G.
The Holocaust industry : reflection on the exploitation of Jewish suffering London ; New York : VERSO, 2000.
Main Stack D804.3.F567 2000
Moffitt D804.3.F567 2000

Gelley, Ora
"Narration and the embodiment of power in Schindler's list ." In: The films of Steven Spielberg: critical essays
Edited by Charles L.P. Silet. Lanham, Md. : Scarecrow Press, 2002.
MAIN: PN1998.3.S65 F55 2002

Gilman, Sander L.
"Smart Jews": from The Caine mutiny to Schindler's list and beyond." In: Screening the past: film and the representation of history / edited by Tony Barta. p. 63-81. Westport, Conn.: Praeger, 1998.
Main Stack PN1995.2.S38 1998
Contents via Google books

Hanlon, Dennis
"Does Anyone Have the Right to Say, 'I Donít Care'?: Resistance and Reverence at Schindlerís List." Film & History: An Interdisciplinary Journal of Film and Television Studies Volume 39.1 (Spring 2009) pp. 53-65
UC users only

Hansen,Miriam Bratu
"Schindler's list is not Shoah: the second commandment, popular modernism, and public memory." In: The historical film : history and memory in media / edited and with an introduction by Marcia Landy. New Brunswick, N.J. : Rutgers University Press, c2001. Rutgers depth of field series.
Main Stack PN1995.9.H5.H59 2001
Also in:
Visual culture and the Holocaust / edited and with an introduction by Barbie Zelizer. New Brunswick, N.J. : Rutgers University Press, c2001. Rutgers depth of field series.
Main Stack NX650.H57.V57 2001

Hellig, Jocelyn Louise
"Recalling the Holocaust; Lanzmann's "Shoah" and Spielberg's "Schindler's List"." In: Literary responses to the Holocaust, 1945-1995 / Yehoshua Gitay, editor. pp: 55-68 San Francisco : International Scholars, 1998.
Main Stack PN56.H55.L56 1998

"Schindler's List." In: The Holocaust film sourcebook / edited by Caroline Joan (Kay) Picart. Westport, Conn. : Praeger, c2004.
Media Resources Center Call No. PN1995.9.H53. H66 2004
Contents via Google books

Insdorf, Annette.
"Rescuers in Fiction Films." In: Indelible shadows : film and the Holocaust / Annette Insdorf. Cambridge : Cambridge University Press, 1989.
Full text available online (UCB users only)
Main (Gardner) Stacks PN1995.9.H53 I57 1989
Moffitt PN1995.9.H53 I57 1989 c.11

James, David
Schindler's list : images of the Steven Spielberg film. \New York : Newmarket Press ; [S.l.] : Universal Studios and Amblin Entertainment, c2004.
MAIN: PN1997.S3133 J36 2004
PFA : PN1997.S35 J36 2004;

Kramer, Naomi.
"The Transformation of the Shoah in Film." In: Building history : the Shoah in art, memory, and myth / edited by Peter M. Daley ... [et al.]. pp: 143-48 New York : P. Lang, c2001. McGill European studies ; vol. 4
Main Stack D804.18.B85 2001

Kramer, Peter.
"'He's very good at work not involving little creatures, you know': Schindler's List, E.T., and the shape of Steven Spielberg's career." New Review of Film & Television Studies, Apr2009, Vol. 7 Issue 1, p23-32, 10p
UC users only

Krankenhagen, Stefan.
Auschwitz darstellen : asthetische Positionen zwischen Adorno, Spielberg und Walser Koln : Bohlau, 2001.
Main Stack MAIN: PN56.H55 K73 2001

Kulturelle Reprasentationen des Holocaust in Deutschland und den Vereinigten Staaten
New York : P. Lang, c2002.
Main Stack MAIN: PN1995.9.H53 K85 2002;

Link, JŁrgen, Gumbrecht
"Between Goethe's and Spielberg's 'Aura': On the Utility of a Nonoperational Concept." In: Mapping Benjamin : the work of art in the digital age / edited by Hans Ulrich Gumbrecht, Michael Marrinan. Stanford, Calif. : Stanford University Press, c2003.
Main Stack BH201.M32 2003

Lipkin, Steve.
"Defining Docudrama: In The Name of the Father, Schindler's List, and JFK." In: Why docudrama?: fact-fiction on film and TV / edited by Alan Rosenthal. pp: 370-83 Carbondale, Ill: Southern Illinois University Press, c1999.
UCB Main PN1995.9.H5 W58 1999
Lipkin, Steve.
"Defining docudrama : Schindler's list and In the name of the father." In: Real emotional logic : film and television docudrama as persuasive practice / Steven N. Lipkin. Carbondale : Southern Illinois University Press, c2002.
Main Stack PN1995.9.H5.L56 2002

Loshitsky, Yosefa
"Fantastic realism: Schindler's list as docudrama." In: Why docudrama? : fact-fiction on film and TV / edited by Alan Rosenthal. Carbondale, Ill. : Southern Illinois University Press, c1999.
UCB Main PN1995.9.H5 W58 1999

Mandel, Naomi
"Speaking Schindler's list." In: Against the unspeakable : complicity, the Holocaust, and slavery in America Charlottesville : University of Virginia Press, 2006.
Main Stack PS374.H56.M36 2006
Contents via Google books

Mintz, Alan L.
Popular culture and the shaping of Holocaust memory in America Seattle: University of Washington Press, c2001.
UCB Main D804.45.U55 P67 2001
Contents via Google books

Natoli, Joseph P.
"The bottom line of Schindler's List: the prayer is a Savior." In: Speeding to the millennium : film & culture, 1993-1995 / Joseph Natoli. Albany : State University of New York Press, c1998. SUNY series in postmodern culture.
UCB Main Stack PN1995.9.S6.N38 1998

Norris, Margot.
"Unmaking and remaking a world: Thomas Keneally's book and Steven Spielberg's film of Schindler's list." In: Writing war in the twentieth century Charlottesville : University Press of Virginia, 2000. UCB Main Stack PN56.W3.N67 2000

Palowski, Franciszek
The Making of Schindler's List: Behind the Scenes of an Epic Film / Franciszek Palowski; translated from the Polish by Anna and Robert G. Ware. Secaucus, N.J.: Carol Pub. Group, 1998.
UCB Main PN1997.S3133 P3613 1998

Picart Caroline J.S.
"Classic horror in Schindler's list." In: Frames of evil : the Holocaust as horror in American film / Caroline Joan (Kay) S. Picart and David A. Frank ; with a foreword by Dominick LaCapra and an introduction by Edward J. Ingebretsen. Carbondale : Southern Illinois University Press, 2006. Main Stack PN1995.9.H53.P53 2006 Contents via Google books

Picart Caroline J.S. and Frank, David A.
"Horror and the holocaust: genre elements in Schindler's list and Psycho." In: The horror film / edited and with an introduction by Stephen Prince. New Brunswick, N.J. : Rutgers University Press, c2004. Rutgers depth of field series.
Table of contents
Main Stack PN1995.9.H6.H667 2004

Rawlinson, Mark.
"Adapting the Holocaust: Schindler's List, Intellectuals and Public knowledge." In: Adaptations: from text to screen, screen to text / edited by Deborah Cartmell and Imelda Whelehan. pp: 113-27. London; New York: Routledge, 1999.
UCB Main PN1997.85 .A32 1999
Contents via Google books

Romney, Jonathan.
"Schindler's List." In: Short orders : film writing / Jonathan Romney. London : Serpent's Tail, 1997.
Main (Gardner) Stacks PN1995 .R6427 1997

Rose, Gillian
"Beginnings of the Day: Fascism and Representation." In: Modernity, culture, and 'the Jew' / edited by Bryan Cheyette and Laura Marcus. pp: 242-56 Stanford, Calif.: Stanford University Press, 1998. Series title: Contraversions (Stanford, Calif.)
UCB Main DS143 .M63 1998

Rosen, Jonathan
"The Trivialization of Tragedy." In: Dumbing Down: Essays on the Strip Mining of American CultureEdited by Katharine Washburn and John F. Thornton; introduction by John Simon. 1st ed. New York: W.W. Norton, 1996.
UCB Main E169.12 .D85 1996
UCB Moffitt E169.12 .D85 1996270-80.

Rosenbaum, Jonathan
"Spielberg's Gentiles." (Schindler's list) In: Movies as Politics / Jonathan Rosenbaum. pp: 98-104. Berkeley, Calif.: University of California Press, c1997.
MAIN: PN1995.9.P6 R67 1997
UCB Moffitt PN1995.9.P6 R67 1997

Rosenfeld, Alvin H.
"Americanizing the Holocaust." In: Thinking about the Holocaust : after half a century / edited by Alvin H. Rosenfeld. Bloomington : Indiana University Press, c1997.
Main (Gardner) Stacks

Russell, James
"Steven Spielberg, the Holocaust, and Schindler's List." In: The historical epic and contemporary Hollywood : from Dances with wolves to Gladiator / James Russell. New York : Continuum, 2007.
Main (Gardner) Stacks Main (Gardner) Stacks PN1995.9.H5 R87 2007
Contents via Google books

Schwarz, Daniel R.
"Keneally's and Spielberg's Schindler's list : realistic novel into epic film." In: Imagining the Holocaust / Daniel R. Schwarz. 1st ed. New York : St. Martin's Press, 1999.
UCB Main Stack PN56.H55.S35 1999

Sobchack, Vivian
"Subject positions, speaking positions: from Holocaust, Our Hitler, and Heimat to Shoah and Schindler's List." In: The persistence of history : cinema, television, and the modern event / edited by New York : Routledge, 1996. AFI film readers.
Grad Svcs PN1995.2.P47 1996 Non-circulating; may be used only in Graduate Services.
UCB Main Stack PN1995.2.P47 1996

Spielberg's Holocaust: Critical Perspectives on Schindler's List
Edited by Yosefa Loshitzky. Bloomington: Indiana University Press, c1997.
Main Stack PN1997.S3133.S65 1997
Moffitt PN1997.S3133.S65 1997

Sterling, Eric.
"All Rules Barred: A Defense of Spielberg's Schindler's List." Film & History , Sep2002, Vol. 32 Issue 2, p62-71, 10p
UC users only

Stone, Alan A.
"Hollywood and Holocaust: Schindler's list, 1993." In: Movies and the moral adventure of life / Alan A. Stone ; foreword by Joshua Cohen. Cambridge, Mass. : MIT Press, c2007.
Main Stack PN1995.5.S75 2007

Tillman, Lynne
"My funny ambivalence." In: The broad picture : essays / Lynne Tillman. London ; New York : Serpent's Tail, 1997.
Main (Gardner) Stacks PS3570.I42 B76 1977

Vojkovic, Sasha
"Schindler's list and the facing of history : the return of the promised land." In: Micropolitics of media culture : reading the rhizomes of Deleuze and Guattari Amsterdam : Amsterdam University Press, 2001 Film culture in transition.
Main Stack On order

Weissman, Gary.
"Steven Spielberg and the Sensitive Line." In: Fantasies of witnessing : postwar efforts to experience the Holocaust. Ithaca, N.Y. : Cornell University Press, c2004.
MAIN: D804.348 .W45 2004
Contents via Google books

White, Timothy R.; Stiller, Lewis.
"Memories in Black and White: Style and Theme in Spielberg's Schindler's List." In: The Silent word: textual meaning and the unwritten / edited by Robert J.C. Young, Ban Kah Choon & Robbie B.H. Goh. pp: 79-86 Singapore: Singapore University Press, National University of Singapore; Singapore; River Edge, NJ: World Scientific, c1998.
UCB Main PN86 .S5646 1998

Wilkins, Lee
"Schindler's List: The Role of Memory." In: Media ethics : issues and cases / [edited by] Philip Patterson, Lee Wilkins. Madison, Wis. : WCB Brown & Benchmark, c1994.
Main (Gardner) Stacks P94 .M36 1994

Journal Articles and Reviews

Alleva, Richard.
"Schindler's List." (movie reviews) Commonwealth v121, n3 (Feb 11, 1994):16 (3 pages).
UC users only

Alster, Laurence.
"Spielberg's Ark." (students of history, English and media studies should watch Steven Spielberg's 'Schindler's List') Times Educational Supplement, n4052 (Feb 25, 1994):B13.
Students of history and English will benefit by watching 'Schindler's List,' a movie directed by Steven Spielberg, which has been appreciated in the US and the UK. Students of history will find this movie interesting as it is about the effect of the Holocaust on the Jews of Central Europe. Film and media studies students should also see this movie which critics have claimed is Spielberg's most mature production.

Alter, Jonathan; Miller, Mark; Shapiro, Laura.
"After the Survivors." (Steven Spielberg's new film, 'Schindler's List') (includes related articles) (Cover Story) Newsweek v122, n25 (Dec 20, 1993):116 (4 pages).
Spielberg's film 'Schindler's List' is a moving story of how one man, Oskar Schindler, saved over 1,200 Jews during the Nazi Holocaust. The film has the capacity to both inform and change public opinion.

Ansen, David.
"Spielberg's Obsession." (filmmaker Steven Spielberg's new movie, 'Schindler's List') (Cover Story) Newsweek v122, n25 (Dec 20, 1993):112 (5 pages).
Spielberg's latest film, 'Schindler's List,' is a departure from his usual style of fantasy movie-making. The film is about the Holocaust and how German businessman Oskar Schindler saved 1,200 Jews from the death camps. Spielberg felt compelled to make the film.

Atkinson, Rick.
"Germany Views Its Past Through 'Schindler's List.'" (film about the Holocaust by Stephen Spielberg) Washington Post v117 (Fri, March 4, 1994):C1, col 3

Barkan, Elazar.
"Schindler's List." (movie reviews) American Historical Review v99, n4 (Oct, 1994):1244 (5 pages).

Baumann, Paul.
"Never a question of easy grace; Thomas Keneally's fantastical creatures." Commonweal v116, n13 (July 14, 1989):395 (6 pages).

Beja, Morris.
"Spielberg's Schindler: 'The Presentation'." Yiddish. 12 (4): 12-21. 2001.

Bernstein, Michael Andre.
"Schindler's List." (movie reviews) American Scholar v63, n3 (Summer, 1994):429 (4 pages).

Blake, Richard A.
"Schindler's List." (movie reviews) America v170, n5 (Feb 12, 1994): 20 (3 pages).
UC users only

Bowman, James.
"Lost and Profound." (Schindler's List) (The Talkies) (Column) American Spectator v27, n2 (Feb, 1994):84 (2 pages).

Brenner, David.
"Working Through the Holocaust Blockbuster: Schindler's List and Hitler's Willing Executioners, Globally and Locally." Germanic Review, 2000 Fall, 75:4, 296-316.
UC users only

Britt, Donna.
"Lights, Camera, Sad Reaction. (reactions while watching "Schindler's List") (Column) Washington Post v117 (Tue, March 15, 1994):B1, col 1

Broder, David S.
"'Schindler's List' - and Hebron." (massacre at Hebron mosque in Israel) (Column) Washington Post v117 (Wed, March 2, 1994):A17, col 1,

Bromwich, David.
"Schindler's List." (movie reviews) New Leader v77, n2 (Feb 14, 1994): 20 (2 pages).
UC users only

Brown, Adam
"Marginalising the Marginal in Holocaust Films: Fictional Representations of Jewish Policemen." Limina; 2009, Vol. 15, p1-10, 10p
UC users only

Brown, Nancy Thomas
"From Weimar to Hollywood: Christian images and the portrayal of the Jew." Film & History Vol XXXII nr 2 (2002); p 14-23.
UC users only
"Focuses on the transmission and consequences of Christian anti-semitism. Examines the Weimar cinema's treatment of Jewish identity, the Nazis and finally the postwar Holocaust-related films. Argues that "Schindler's list" fits into the notion that Jewish survival depends on Christian benevolence." [FIAF]

Bruning, Fred.
"Schindler's List." (movie reviews) Maclean's v107, n17 (April 25, 1994):9.

Bukiet, Melvin Jules.
"Of Heroes And The Holocaust: My 'Schindler' Problem.'" (reaction to the motion picture 'Schindler's List' about a Polish businessman's efforts to save Jewish workers) (Column) Washington Post v117 (Sun, Jan 9, 1994):C3, col 1

Burnetts, Charles.
"Steven Spielberg's 'feelgood' endings and sentimentality." New Review of Film & Television Studies, Apr2009, Vol. 7 Issue 1, p79-92, 14p
UC users only

Cardullo B.
"Schindler's Miss" Hudson Review, 1995 Spring, V48 N1:121-127.
UC users only

Charlesworth, Andrew
"A corner of a foreign field that is forever Spielberg's: understanding the moral landscapes of the site of the former KL Plaszow, Krakow, Poland." Cultural Geographies; Jul2004, Vol. 11 Issue 3, p291-312, 22p
UC users only

Cheyette, Bryn.
"Schindler's List." (movie reviews) TLS. Times Literary Supplement, n4742 (Feb 18, 1994):18 (2 pages).

Classen, Christoph
"Balance Truth: Steven Spielberg's Schindler's List Among History, Memory, and Popular Culture." History & Theory, May2009, Vol. 48 Issue 2, p77-102, 26p
UC users only

Cohen, Joseph.
"Yiddish Film And The American Immigrant Experience." Film & History 1998 28(1-2): 30-44.
"The American Yiddish cinema, which consists of about 130 features and 30 short films made between 1910 and 1941, facilitated the processes of Americanization, modernization, and assimilation for immigrant Jewish viewers." [from ABC-CLIO America: History & Life]

Corliss, Richard.
"Schindler comes home." (opening of movie 'Schindler's List' in Germany and Israel) (Column) Time v143, n11 (March 14, 1994):110.
'Schindler's List' disturbed and touched viewers in Germany and Israel, who were reminded of the horrid memories of the Jewish Holocaust by the movie. The acclaimed movie may serve as a reminder to not allow for a similar atrocity to occur again.

Crisp, Quentin.
"Schindler's List." (motion picture) (movie reviews) Christopher Street, n212 (April, 1994):9.

"Crossing 'Schindler' Off the List." (the motion picture 'Schindler's List') World Press Review v41, n8 (August, 1994):47.
'Schindler's List' has been banned in various Middle Eastern and Asian countries. Some have blamed the ban on anti-Semitism, but in many Asian countries the primary reason for the ban is the explicit depiction of sex and violence.

Davies, John.
"Moving Pictures." ('Schindler's List' to increase moral consciousness in schools) Times Educational Supplement, n4081 (Sept 16, 1994):A24.
A Boston-based group called Facing History and Ourselves (FHAO) has organized workshops and summer institutes to train school teachers in the US to use Steven Spielberg's film 'Schindler's List' in classrooms for making the students morally conscious. FHAO, which was launched in 1976, has helped schools enhance creative thinking about society and the dangers due to indifference. The students will learn about the facts of the genocide of Jews during Hitler's rule and understand the problems of racism and discrimination.

Denby, David.
"Schindler's List." (movie reviews) New York v26, n49 (Dec 13, 1993):82 (4 pages).

Doherty, Thomas.
"Schindler's List." (movie reviews) Cineaste v20, n3 (Summer, 1993):49 (3 pages).
UC users only
"A review of Schindler's List, directed by Steven Spielberg. This black-and-white film, which is over three hours long, tells the inspiring and remarkable tale of German-Catholic industrialist Oskar Schindler, who bravely and uncharacteristically rescued some 1,200 Jews from death at Auschwitz. The monochromatic film grain resonates with the documentary memory of the Holocaust and includes stark footage of liberated concentration camps taken by American, British, and Soviet forces. In the same way, the running time is commensurate with the seriousness of the material and the aesthetics of immersion in an extended, complicated, and emotionally agonizing narrative. Although the film has a profound and undeniable power over its audience, it is overlong, lachrymose, and moralizing in its final act; Liam Neeson as Schindler is a weak protagonist; the secondary characters are two-dimensional; and none of the sympathetic characters die, thus missing the point of a Holocaust film."

Eley G., Grossmann A.
"Watching 'Schindler's List' + Holocaust Fiction, Reception, Criticism: Not the Last Word New German Criticism (71) 41-62 SPR-SUM 1997

Eley, Geoff; Grossmann, Atina
"Watching Schindler's List: Not the Last Word Watching Schindler's List: Not the Last Word." New German Critique, No. 71, Memories of Germany (Spring - Summer, 1997), pp. 41-62
UC users only

Eller, Claudia; Miller, Marjorie.
"Germany's Screen Date With Its Past." ('Schindler's List' motion picture to premiere in Germany) Los Angeles Times v113 (Tue, March 1, 1994):F1, col 6

Epstein, Jason.
"A Dissent On 'Schindler's List.'" New York Review of Books v41, n8 (April 21, 1994):65.
The film 'Schindler's List' may not be a memorable film or as a comment on the concentration camps because Spielberg tried to portray an evil beyond his imagination. The portrayal of Hitler's crime should leave the audience shaken and humiliated, if the film were indeed aesthetically and morally successful.

Epstein, Jason.
"Rethinking 'Schindler's List.'" (human rights violations) Utne Reader, n64 (July-August, 1994):136 (3 pages).
Steven Spielberg's movie 'Schindler's List' failed to answer questions about collective sanity and the moral quality of man. Film critics claim that the movie lacked global meaning and failed to relate the sufferings of the Jews during the Holocaust to the present sufferings of many nations.

Epstein, Jason.
"Schindler's List." (movie reviews) New York Review of Books v41, n8 (April 21, 1994):65.

Erbach, Karen
"Schindler's "list finds heroism amidst Holocaust." (Interview). American Cinematographer LXXV/1, Jan 94; p.48-52,54-57.
"A discussion of the difficulties faced and overcome by cinematographer Janusz Kaminski in photographing Steven Spielberg's Schindler's List in black and white. Spielberg wanted to colorize some specific elements in certain shots, so some color negatives had to be used. This presented technical difficulties as it was found that draining the color from a color negative did not match with the black and white negative used to shoot most of the film. Other problems arose with the discharge of negative electricity that happens only with black and white because of the silver content in the emulsion. Kaminski was also confronted with the logistics of shooting in a foreign country, which can give rise to many potential problems with equipment and manpower." [Art Abstracts]

Erlandson, Greg.
"How many children can Rachel weep for?" (death of millions of children during the Holocaust) Human Life Review v20, n4 (Fall, 1994):77 (2 pages).
Steven Spielberg's 'Schindler's List' is a heart-tugging film that prods people to reflect on their lives and how the cruelty of man can lead to the death of millions of innocent lives. The death of an unknown person touches an emotional cord in peoples hearts, but the death of a loved one brings in great and unbearable grief. The difference between the victims of abortion and the victims of the Holocaust was that their voices were never heard.

Farrell, Kirby.
"The Economies of Schindler's List." Arizona Quarterly: A Journal of American Literature, Culture, and Theory, vol. 52 no. 1. 1996 Spring. pp: 163-88.

Feinberg, Stephen; Totten, Samuel.
"Steven Spielberg: A Social Education Interview." Social Education v59, n6 (Oct, 1995):365 (2 pages).
Steven Spielberg feels that education about the Holocaust in schools is important. He made the film 'Schindler's List' primarily for education. The most important lesson that can be taken from the Holocaust is the lesson of truth and tolerance. Many history textbooks take the event Holocaust as a footnote and do not give enough importance. The event is unknown to many people even today. Teachers can make an impact on their students by discussing issues of hatred and intolerance.

Feldman A.
"Schindlers Progress - Censorship Of Spielberg, Stephen 'Schindler's List'." Index On Censorship, 1995 Nov-Dec, V24 N6:105-105.

Fogel, Daniel Mark.
"'Schindler's List' In Novel And Film: Exponential Conversion." Historical Journal of Film, Radio and Television v14, n3 (August, 1994):315 (6 pages).
UC users only
"Stephen Spielberg's version of Thomas Keneally's 'Schindler's List' will probably be recorded in the history of cinema as one of its most important and relevant productions. Spielberg has altered Keneally's novel, smoothening out the character of Oskar Schindler, to enable the viewer to participate in his transformation into a hero. In the process, the director created a film that is inspiring and uplifting despite its true-to-life presentation of the horrors of World War II." [Expanded Academic Index]

Gellately, Robert.
"Between Exploitation, Rescue, and Annihilation: Reviewing Schindler's List." Central European History v26, n4 (Fall, 1994):475 (15 pages).
UC users only

Gelley O.
"Narration and the Embodiment of Power in 'Schindler's List'" Film Criticism 22: (2) 2-26 Winter 1998
UC users only
"Steven Spielberg's film 'Schindler's List' narrates the story of the Holocaust from the Nazis' point of view. The Jewish victims largely serve as backdrop, mute witnesses to the horrors being perpetrated against them. The film is aware of these traumatic events, yet the aesthetics and narrative pleasures of the film derive from the oppressors, relegating the Jews to pawns." [Expanded Academic Index]

Goldstein, Phyllis.
"Teaching 'Schindler's List.'" Social Education v59, n6 (Oct, 1995):362 (3 pages).
The movie 'Schindler's List' by Steven Spielberg can stimulate far-reaching thoughts among students about power, racism and individual responsibility in the Holocaust period. The movie is based on a story of a war profiteer and member of a Nazi party who saved the lives of a large number of Jews at the time of Second World War. The movie describes human courage, caring and compassion against evil. A guide of the movie was prepared for schools by Facing History to stimulate discussion of racism and anti-Semitism.

Gourevitch, Philip.
"A dissent on 'Schindler's List'." Commentary, Feb1994, Vol. 97 Issue 2, p49, 4p
UC users only

Gourevitch, Philip.
"Genocide Pop: Between the Holocaust Museum and 'Schindler's List,' The spectacle of mass murder has permeated mass culture; Both tell us far more about present ambiguities than about past truths." Washington Post v117 (Sun, Jan 16, 1994):G1, col 1,

Gross, John.
"Schindler's List." (movie reviews) New York Review of Books v41, n3 (Feb 3, 1994):14 (3 pages).

Gruber, Ruth Ellen.
"Remembering Poland's Jews; 'Schindler's List' And The 50th Anniversary of the Liberation of Auschwitz Have Reawakened Interest In The Country's Holocaust Sites." (includes directory) New York Times v144, sec5 (Sun, Jan 29, 1995):XX8(N), XX8(L), col 1

Hanlon, Dennis.
"Does Anyone Have the Right to Say, "I Don't Care"?: Resistance and Reverence at Schindler's List." Film & History , Spring2009, Vol. 39 Issue 1, p53-65, 13p
UC users only

Hansen, Miriam Bratu
"'Schindlers List' Is Not Shoah, The 2nd-Commandment, Popular Modernism, and Public Memory." Critical Inquiry, 1996 Winter, V22 N2:292-312.
UC users only
The film 'Schindler's List fails in its attempt to present a romantic narrative of the Jewish genocide in Nazi Germany since it privileges some viewpoints at the expense of the actual survivors. The film's flaws stem from its being a product of Hollywood and its focus on the conflict between the two Germans Oskar Schindler and Amon Goethe. Thus, it tries to generalize the experiences of the Jewish survivors for the sake of drama.

Hartman, Geoffrey.
"The Cinema Animal: On Spielberg's 'Schindler's List.'" (Steven Spielberg) Salmagundi, n106-7 (Spring-Summer, 1995):127 (19 pages).
Steven Spielberg's 'Schindler's List' manages to depict the reality of Jewish extermination during World War II. The film shows the liquidation of the ghetto, the deportation of children and the exhumation and burning of bodies. However, Spielberg leaves the audience with a distancing and disconcerting impression because of his stylistic inclinations, as he strives for precision when filming historical sequences. A critique of the film is presented.

Hecht, Eli.
"When Will Jews Let It Rest?" (criticism of Holocaust film 'Schindler's List') (Column) Los Angeles Times v113 (Sun, Jan 2, 1994):M5, col 2

Hellig, Jocelyn Louise
"Recalling the Holocaust : Lanzmannís "Shoah" and Spielbergís "Schindlerís List"." Literary Responses to the Holocaust (1998) 55-68

Hirsch, Joshua.
"Posttraumatic Cinema and the Holocaust Documentary." Film & History , May2002, Vol. 32 Issue 1, p9-21, 13p
UC users only

Hoffman, Preston.
"Schindler's List." (sound recording reviews) Wilson Library Bulletin v68, n9 (May, 1994):104 (2 pages).

James, Caryn.
"Schindler's List." (movie reviews) New York Times v143, sec2 (Sun, Jan 23, 1994):H13(N), H13(L), col 5, 12 col in.

Johnson, Brian D.
"Schindler's List." (movie reviews) Maclean's v106, n51 (Dec 20, 1993):51.

Joseph, Barry.
"Comforting Nightmares: A Meditation on Schindler's List, Holocaust Memories And Jewish Liberation." Response: A Contemporary Jewish Review. vol. 62, 1994 Spring-Summer

Karnik, Neela.
"Mirrors without Memory: Cinema as History in Schindler's List." Indian Journal of American Studies 1995 Summer, 25:2, 122-26.

Kauffmann, Stanley.
"Schindler's List." (movie reviews) New Republic v209, n24 (Dec 13, 1993):30.

Kauffmann, Stanley.
Stanley Kauffmann on films: a predicament." (films on the Holocaust)(Column)(Transcript) New Republic v213, n24 (Dec 11, 1995):24 (3 pages).
"The making of any film dealing with the subject of the Holocaust is open to any number of difficulties inherent in its grave matter. Any film that attempts to recreate the Holocaust can come dangerously close to obscenity in its portrayals of the various victims and victimizers." [Expanded Academic Index]

Kertesz, Imre. MacKay, John (translator).
"Who Owns Auschwitz?" Yale Journal of Criticism: Interpretation in the Humanities. 14 (1): 267-72. 2001 Spring.
"Some Holocaust survivors treat their experience as intellectual property, and this is appropriate when confronting such falsified experience as Steven Spielberg's film 'Schindler's List.' Roberto Benigni's film 'Life is Beautiful' is essentially tragic, and the spirit of the film is completely authentic in presenting an absurd, atrocious world." [Expanded Academic Index]

Klawans, Stuart.
"Schindler's List." (movie reviews) Nation v258, n1 (Jan 3, 1994):30.
UC users only

Klein, Reva.
"Hollywood and the Holocaust." (Steven Spielberg's film 'Schindler's List') Times Educational Supplement, n4054 (March 11, 1994):7.
The scenes of the Holocaust continues to haunt the teachers even after five decades has passed. Most teachers welcomed the decision of the Holocaust Educational Trust to distribute free the video of 'Schindler's List' to every school in the country. Experts agree that the Holocaust holds important lessons for European students today. It is important for the students to realize that only by conquering racism, can they save the world from future disasters.

Klugherz, Dan.
"'Schindler's List' and 'Schindler': The Movie and the Documentary." (Oscar Schindler) Television Quarterly v27, n2 (Spring, 1994):65 (4 pages).
There are differences between the movie 'Schindler's List' and the documentary film 'Schindler.' The movie has taken some criticism that it does not convey the true horror of the Holocaust, since it follows an entertainment formula of a hero who saves people. By contrast, the documentary gives a powerful impression of the horror, undiluted by inaccuracies for the sake of the story. However, either film can impress and move audiences.

Koch, Gertrud.
'Against All Odds'; Or, the Will to Survive: Moral Conclusions from Narrative Closure." History and Memory: Studies in Representations of the Past 1997 Fall, 9:1-2, 393-408.

Koven, Mikel J.
"Schindler's List as Jewish Rite: The Esoteric-Exoteric Factor of Cinema-Going." Culture & Tradition 20, (1999): p. 5-17

Kramer, Larry.
"After seeing Schindler's List." (motion picture Schindler's List) (Last Word) (Column) Advocate, n653 (April 19, 1994):80.
Gay liberation organizations such as the Gay Men's Health Crisis and AIDS Project Los Angeles are being likened to characters in the motion picture 'Schindler's List. The organizations have shown slow progress in pressing for changes in present gay issues.

Kurzweil, Edith.
"Schindler's List." Partisan Review v61, n2 (Spring, 1994):201 (3 pages).
Steven Spielberg's film 'Schindler's List,' which is extolled by many people, caters to the urge for entertainment and has not captured the Holocaust in all its dimensions. The atrocities of the Holocaust cannot be apprehended by any art especially cinematic art. A comparison of Spielberg's film with Thomas Keneally's book 'Schindler's List' would show that cinema cannot portray the Holocaust powerfully.

Kuspit, Donald.
"Schindler's List." (movie reviews) Artforum v32, n6 (Feb, 1994):11 (2 pages).
"The writer reviews Schindler's List, a motion picture directed by Steven Spielberg. Spielberg declared that this was his first movie that did not reference other filmmakers. Spielberg has instead referenced the Holocaust without understanding it, to translate appearances into a popular idiom. The writer criticizes the stereotyping of the Jews as victims and the reduction of the Nazis to corrupt, psychopathic thugs." [Art Abstracts]

"Laughter At Film Brings Spielberg Visit." (Steven Spielberg visits Castlemont High School, Oakland, California to discuss film 'Schindler's List') (Education Pages) New York Times v143 (Wed, April 13, 1994):B9(N), B11(L), col 1

"Lessons From The Past." (Steven Spielberg's film 'Schindler's List') (The Middle East) Middle East, n233 (April, 1994):6.
"Renowned filmmaker Steven Spielberg's 'Schindler's List,' considered a masterpiece by many, should not be labeled as just another movie portraying the Jewish holocaust during World War II. Through the story of German profiteer Oskar Schindler, Spielberg brought to the fore issues close to Palestinians as well as valuable lessons of history, especially the mistakes of Nazi Germany." [Expanded Academic Index]

Loshitsky, Yosefa.
"Fantastic Realism: Schindler's List as Docudrama." In: Why docudrama?: fact-fiction on film and TV / edited by Alan Rosenthal. pp: 357-69. Carbondale, Ill.: Southern Illinois University Press, c1999.
Main Stack PN1995.9.H5.W58 1999

Louvish, Simon.
"Witness." (Steven Spielberg's film 'Schindler's List' stretches the limits of imagination) Sight and Sound v4, n3 (March, 1994):12 (4 pages).
UC users only
Discusses the representation of the Holocaust in film; refers in particular to "Schindler's List" and "Shoah", offering a comparison of the differing approach of both. Steven Spielberg's film 'Schindler's List' focuses on the well-known theme of the Holocaust. The story evokes in the viewers the classic syndrome of 'compassion fatigue.' The narrative technique of the film painstakingly reconstructs ghastly reality of the Holocaust. The transformation of Oskar Schindler shows the effect of the Holocaust on his conscience.

Manchel, Frank.
"A Reel Witness: Steven Spielberg's Representation of the Holocaust in Schindler's List."
UC users only Journal of Modern History v67, n1 (March, 1995):83 (18 pages).
"Steven Spielberg's 'Schindler's List,' reveals the growing-up Spielberg has done since his earlier movie work. He acquired the property about a decade before the movie was made and had to feel ready to make it. Spielberg has done a brilliant job of portraying the Holocaust through a commercial medium. Schindler's List has become successful in providing historical information which has affected the common perceptions. It has created a place for itself in the current cultural war debating Holocaust." [Historical Abstracts]

Margolick, David.
"Schindler's Jews Find Deliverance Again." (Jews rescued by Oskar Schindler discuss 'Schindler's List' motion picture) New York Times v143, sec4 (Sun, Feb 13, 1994):E1(N), E1(L), col 1

Marks, Clifford J.; Torry, Robert.
"'Herr Direktor': Biography and Autobiography in Schindler's List." Biography: An Interdisciplinary Quarterly, 2000 Winter, 23:1, 49-70.
UCB Users only

Maron, Jeremy
"Affective Historiography: Schindler's List, Melodrama and Historical Representation." Shofar: An Interdisciplinary Journal of Jewish Studies, Volume 27, Number 4, Summer 2009, pp. 66-94
UCB Users only

Maslin, Janet.
"Schindler's List." (movie reviews) New York Times v143 (Wed, Dec 15, 1993):B1(N), C19(L), col 2

Mesnard, Philippe; Sivan, Eyal
"Visions of the Shoah: transgression or grotesque." Art Press no215 July/Aug 1996. p. 31-8
"Part of a special section on the artistic heritage of World War II. The writer describes the different artistic approaches to the Holocaust taken by Jewish and non-Jewish people. A body of knowledge on this subject began to be created in France during the 1970s and 1980s that was polarized by the 1985 motion picture Shoah, which introduced of a new conception of archival material. In the United States, this issue has been taken up on a broad public level with Schindler's List, which allowed the subject to be dealt with in accordance with 1990s aesthetics. In Israel the tendency at the moment is to desacralize the Holocaust. In all cases, the stand that people take in relation to the Holocaust is determined by cultural, historical and national factors that are as powerful today as they ever were." [Art Abstracts]

Metz, Walter C.
'Show Me the Shoah!': Generic Experience and Spectatorship in Popular Representations of the Holocaust." Shofar: An Interdisciplinary Journal of Jewish Studies, Volume 27, Number 1, Fall 2008, pp. 16-35
UCB Users only

Miller, Marjorie.
"Breaking The 'Big Silence'; 'Schindler's List' Forces Germans to Look at Their History." (movie about the Holocaust opens in Germany) Los Angeles Times v113 (Mon, March 7, 1994):F1, col 2

Miller, Reid
"A Lesson in Moral Spectatorship." Critical Inquiry; Summer2008, Vol. 34 Issue 4, p706-728, 23p
UC users only

Modleski, Tania.
"The Context of Violence in Popular Culture." Chronicle of Higher Education. 47 (33): B15-B16. 2001 Apr 27.
UC users only

Nagorski, Andrew.
"Schlindler's List and the Polish Question." Foreign Affairs 1994 73(4): 152-157.
UC users only
"Reviews Steven Spielberg's film Schindler's List. The movie emphasized the nature of Nazi atrocities against Jews while ignoring significant wrongs committed against other groups. Spielberg treated death camp horrors in isolation and did not portray significant efforts expended by some Poles to alleviate Jewish misery. The film failed to illustrate the considerable wrongs done by the Nazis to ordinary Poles. Viewers will observe Jews suffering in isolation and will gain little insight for a broader view of the Holocaust and why some people responded with selfless heroism while others did nothing to help those being exterminated by the Nazis." [Historical Abstracts]

Nagorski, Andrew.
"'Schindler's List' Hits Home." (film opens in Germany and Poland) Newsweek v123, n11 (March 14, 1994):77.

Nagorski, Andrew.
"Spielberg's Risk: the Director Takes a Chance with a Holocaust Drama Shot in Black and White." (Steven Spielberg's 'Schindler's List') Newsweek v121, n21 (May 24, 1993):60 (2 pages).

Nevers, Camille
"Schindler's List." (motion picture review) Cahiers du Cinéma no478 Apr 1994. p. 50-4
"A review of Steven Spielberg's film Schindler's List. Spielberg is never interested in subject matter; his passion is for projects. The weaknesses in this film, a project ten years in the making, are justified when Spielberg halts the narrative to examine poignant details such as piles of clothes and suitcases. The film is without any precise style due to the multiple styles employed. Ultimately, it emerges as a tribute to the medium of cinema itself." [Art Abstracts]

Nichols, Bill
"The 10 stations of Spielberg's passion: Saving Private Ryan, Amistad, Schindler's list." Jump Cut v 43 2000. p. 9-11
UC users only
"As a distinct body of work, Steven Spielberg's films Schindler's List, Amistad, and Saving Private Ryan corrupt historical representation, replacing ethics with spectacle, and history with fantasy. The films are "true stories" based on historical fact, which Spielberg eagerly wishes us to understand separate him from more genre- and convention-bound directors. All three insistently declare an "authenticity" to their stories which exceeds simple fictional reenactment. Despite documentary trappings, however, Spielberg's camera remains faithful to Hollywood's psychological realism, moving expertly but without ethical compunction--a documentary filmmaker would have to choose sides. The director marries stylistic authenticity to fictional contrivance, and in each film, fictional staging wins out over documentary realism." [Art Abstracts]

Niven, William J.
"The Reception of Steven Spielberg's 'Schindler's List' In The German Media." Journal of European Studies v25, n98 (June, 1995):165 (25 pages).
UC users only
"The film 'Schindler's List' by Steven Spielberg made a profound impact on its audience by evidence of its success in German cinemas. The main focus is the reception of the German media to the film. The film aimed to bring back to life the atrocities during the holocaust to make people aware of the horrors of the past. The German press generally viewed the film as a source of enlightenment and showed the extent of human cruelty ." [Expanded Academic Index]

Ottenhoff, John.
"Schindler's List." (movie reviews) Christian Century v111, n5 (Feb 16, 1994):172 (4 pages).

Pascal M; Spielberg S.
"Why I Made 'Schindlers List' - An Interview With Spielberg,Steven." Queens Quarterly, 1994 Spring, V101 N1:27-47.

Perlez, Jane.
"Spielberg Grapples With The Holocaust." (Steven Spielberg directs 'Schindler's List') New York Times v142, sec2 (Sun, June 13, 1993):H15(N), H15(L), col

Radyshevsky, Dmitry.
"Holocaust and 'A Wan With Money.'" (Steven Spielberg's film 'Schindler's List') Moscow News, n6 (Feb 11, 1994):11.
Steven Spielberg's film 'Schindler's List' may become one of the greatest feature films ever made due to its vivid portrayal of events during the Nazi Holocaust. This is Spielberg's first art film and is a departure from the highly successful entertainment films associated with him. A film detailing the atrocities during communist rule in the former Soviet Union may enlighten people who possess inadequate knowledge of human tragedies.

Rafferty, Terrence.
"Schindler's List." (movie reviews) New Yorker v69, n43 (Dec 20, 1993):129 (4 pages).

Rapaport, Lynn.
"Hollywood's Holocaust: Schindler's list and the construction of memory." Film & History, 32(1), 2002. 55-65.
UC users only
"This author examines how educationally appropriate it is for the movie industry to recreate stories about the Holocaust by providing a critical analysis of the popular film, "Schindler's List". Her analysis features an evaluation of this movie's filming techniques, character development, and story line. Her critique highlights significant ways fact and fiction is incorporated in this film. She cautions educators about using Hollywood representations of this type because their primary goal is often to entertain not educate." [from Holocaust Education web site]

Rich, Frank.
"'Schindler's' Dissed." (high school students in Oakland, California laugh at portrayal of Nazi violence toward Jews in 'Schindler's List') (Column) New York Times v143, sec4 (Sun, Feb 6, 1994):E17(N), E17(L), col 5

Richler, Mordecai.
"Why I Hate Schindler's List." Saturday Night. vol. 109 no. 5, 1994 June

Rigg, Julie.
"Spielberg and the Girl in the Little Red Coat." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 27: (no pagination). 2003 July-Aug.

Romney, Jonathan.
"Schindler's List." (movie reviews) New Statesman & Society v7, n290 (Feb 18, 1994):33 (2 pages).

Salamon, Julie.
"Schindler's List." (movie reviews) Wall Street Journal (Thu, Dec 16, 1993):A16(W), A14(E), col 1

Sauerberg, Lars Ole.
"Fact-Flirting Fiction: Historiographical Potential or Involuntary Parody?" European Journal of English Studies. 3(2):190-205. 1999 Aug

Schickel, Richard.
Heart Of Darkness. (Steven Spielberg film about the Holocaust, 'Schindler's List') Time v142, n25 (Dec 13, 1993):74 (4 pages).
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Spielberg has created a fine and moving film about Oskar Schindler, a con man who went to Poland during the Nazi occupation to make money and ended up saving the lives of 1,100 Jews. The film is based on a novel by Thomas Keneally about Schindler's life.

Schiff, Stephen.
"Seriously Spielberg." (Steven Spielberg and the making of 'Schindler's List') New Yorker v70, n5 (March 21, 1994): 96 (13 pages).
Steven Spielberg escaped his typecast with 'Schindler's List,' a film of considered power that is different than his earlier work of calculated fantasy. He believes he has entered a new phase, and is unsure of his next move.

Schwartz, Amy E.
"Laughter In The Movie House. (aftermath of incident in Oakland, California in which several African American high school students were asked to leave movie theater because of inappropriate behavior..." Washington Post v117 (Wed, March 16, 1994):A19, col 6, 19 col in.

Schwartz, Amy E.
"New Myths And The Oscars." (political themes in the films 'Philadelphia,' 'Schindler's List,' and 'The Piano') (Column) Washington Post v117 (Fri, April 1, 1994):A21, col 3,

See, Fred.
"Steven Spielberg and the holiness of war." Arizona Quarterly (60:3) 2004, 109-41. (2004)
UC users only
"See questions Steven Spielberg's Schindler's List and Saving Private Ryan, which like Empire of the Sun conclude with the vision of a lost boy returned to the sentimental plentitude of home. In these two films Spielberg continues to explore the contrast of demotic and sacred experience as the pressure of war impinges on icons of faith." [ProQuest]

Shahin, Mariam.
"Schindler's List - Ghost Movie." Middle East, n234 (May, 1994):42.
"The ban on the showing of 'Schindler's List' created a furor on the issue of freedom and cultural maturity in Jordan. The film was an attempt made by Steven Spielberg to show the side of the Jews. The movie focused on the suffering of the Jews during the Nazi era. The film also provides an opening to raise questions on the issues of ethnic cleansing, racism and crimes against humanity. Jordanian and Palestinian intellectuals, however, believe that the film was another ploy to stir the guilt of the Christian West." [Expanded Academic Index]

Sicher, Efraim
"The Future of the Past." History and Memory: Studies in Representation of the Past Fall-Winter 2000 v12 i2 p56
UC users only

Silver, Eric.
"A Crook, A Womanizer And A Hero: Israelis Await the Movie 'Schindler's List.'" (based on the life of Oskar Schindler) Maclean's v107, n3 (Jan 17, 1994):52.

Simon, John.
"From the Jaws of Death." (movie reviews) National Review v46, n1 (Jan 24, 1994):70 (2 pages).
UC users only

Simon, Paul.
"'Schindler's List,' Martin Luther King Day And A Modest Proposal." St. Louis Journalism Review v23, n163 (Feb, 1994):2.

Skoller, Jeffrey.
"The Shadows of Catastrophe: Towards an Ethics of Representation in Films by Antin, Eisenberg, and Spielberg." Discourse 1996 Fall, 19:1, 131-59.

Spolar, Christine.
"The Kids Who Laughed Till It Hurt." (public reaction to students of Castlemont High School in Oakland, California who attended screening of 'Schindler's List' and laughed) Washington Post v117 (Thu, March 10, 1994):C1, col 1

Spielberg's Holocaust: Critical Perspectives on Schindler's List
Edited by Yosefa Loshitzky. Bloomington: Indiana University Press, c1997.
UCB Main PN1997.S3133 S65 1997

"Spielberg's List." (director Steven Spielberg's 'Schindler's List') (American Survey) (Column) Economist v329, n7843 (Dec 25, 1993):A30.

"Stanley Kauffmann on Films: A Predicament." (films on the Holocaust)(Column)(Transcript) New Republic v213, n24 (Dec 11, 1995):24 (3 pages).

Stein, Mike. Deceit & Misrepresentation: The Techniques of Holocaust Denial" (web document via Nizkor Project)

Sterling, Eric
"All Rules Barred: A Defense of Spielberg's "Schindler's List"." Film & History 32:2 (2002) p. 62-71
UC users only

Stier, Oren Baruch.
"Holocaust, American-style." Prooftexts (22:3) 2002, 354-91. (2002)
UC users only

Sterritt, David.
"Schindler's List." (movie reviews) Christian Science Monitor v86, n14 (Wed, Dec 15, 1993):16, col 1,

Strick, Philip.
"Schindler's List." (movie reviews) Sight and Sound v4, n3 (March, 1994):46.
Filmed in monochrome, Steven Spielberg's Schindler's List honorably evokes the immediacy of postwar European cinema. Secure from any accusation of prettifying the Holocaust, Spielberg risks only an allowable surplus of sentimentality at its memory.

Tefft, Sheila.
"Islam's Radical Twist In Indonesia." (growth of fundamentalism manifests in censorship of "Schindler's List") Christian Science Monitor v86, n91 (Tue, April 5, 1994):6, col 2

Thomson, David.
"Presenting Enamelware - Spielberg,Steven 'Schindlers List'." Film Comment, 1994 Mar-Apr, V30 N2:44+.
Examines how Spielberg's talent as a showman has affected his adaptation of "Schindler's List"; plus notes on the director's handling of history and emotion in the film.

Thomson, David.
"Schindler's List." (Cover Story) (movie reviews) Film Comment v30, n2 (March-April, 1994): 44 (6 pages).
UC users only
"Steven Spielberg's Schindler's List is brilliant moviemaking, but its calculated style raises questions about the ability of the cinema to represent the Holocaust. The style and sensibility of the film emanate from its title character, Oskar Schindler (Liam Neeson), a factory owner who goes to great lengths to save the lives of 1,100 Jewish workers during the Holocaust. A great showman, Spielberg is fascinated by the showmanship of power, and he portrays Schindler, whose motives for his deed in real life were ambiguous, as a hero, even a savior. The film's most serious problem is that there is something obscene in the controlled narrative presentation of atrocities: The act of showing inevitably transcends the material and begins to alter it." [Art Abstracts]

Thornton W.H.
"After the Carnival: The Filmic Prosaics of 'Schindler's List'" Canadian Review of Comparative Literature 23: (3) 701-708 Sept. 1996

Toole, David C.
"Witnesses And Voyeurs - The Perils Of Remembrance In 'Orbit Of Darkness' and 'Schindlers List.'" (Holocaust) Soundings, 1994 Fall-Winter, V77 N3-4:271-293.

"Victims and Victimizers." (Steven Spielberg's 'Schindler's List') (Editorial) Tikkun v9, n2 (March-April, 1994):7 (4 pages).
Steven Spielberg's 'Schindler's List' will play an important role in disseminating information about the Holocaust. However, it plays this role with a danger towards distortion because it strengthens the tendency to focus attention on the murder and survival of the Jewish race.

Wallace, Charles P.
" Malaysian Censors Move To Ban 'List.'" (movie by Steven Spielberg considered propaganda; "Schindler's List" cannot be shown in Malaysia) Los Angeles Times v113 (Thu, March 24, 1994):F3, col 6

Weinraub, Bernard.
"Islamic Nations Move To Keep Out 'Schindler's List.'"(Living Arts Pages) New York Times v143 (Thu, April 7, 1994):B1(N), C15(L), col 5

Weinraub, Bernard.
"Steven Spielberg Faces The Holocaust." (director makes "Schindler's List") New York Times v143, sec2 (Sun, Dec 12, 1993):H1(N), H1(L), col 1

Weissman, Gary.
"A Fantasy Of Witnessing." (criticism of Steven Spielberg's film 'Schindler's List') Media, Culture & Society v17, n2 (April, 1995):293 (15 pages).
"Steven Spielberg's 'Schindler's List' creates a fantasy of witnessing by blurring the line of 'viewable' and 'not viewable' in its portrayal of the horrible images of the Holocaust. Spielberg believes he follows a 'sensitive line' which demarcates the bitter events of the Holocaust from its cinematic presentation. The film betrays the director's desire to differentiate the film from actual events as well as equal it with the real events. Critics who reviewed the film have failed to recognize this 'sensitive line,' and instead either admire or decry the vivid portrayal of the Holocaust." [Expanded Academic Index]

Wheeler, Duncan
"Godard's List: Why Spielberg and Auschwitz are Number One." Media History; May2009, Vol. 15 Issue 2, p185-203, 19p
UC users only

White, Armond.
"Toward a theory of Spielberg history." (director Steven Spielberg) (Cover Story) Film Comment v30, n2 (March-April, 1994):51 (6 pages).
"Critics and admirers of Steven Spielberg's Schindler's List have ignored the sensibility that has always been present in Spielberg's greatest films--the profound optimism of human experience. Although reviewers have repeatedly described the film as a "witnessing" of history, the film is weakest as history. Spielberg's pretense toward documentary realism is a desperate, unoriginal tactic, and much of the film fits prescribed Holocaust lore, creating a kind of pornography of suffering and revenge. The film is strongest at evoking the emotionality of the events depicted, notably in the widely disapproved climax when Nazi businessman Oskar Schindler experiences a spiritual moment of humility after delivering 1,100 Jews to safety. The scene is a plausible show of decency that is the most Spielbergian moment of the film." [Art Abstracts]

White, L.
"My father is a Schindler Jew." Jump Cut /39, June 94; p.3-6.
The author's response to "Schindler's List" and its handling of the Holocaust is inspired by his father's experience.

Wieseltier, Leon.
"Schindler's List."(movie reviews) New Republic v210, n4 (Jan 24, 1994): 42.
UC users only

Wildt, Michael; Selwyn, Pamela
"The Invented and the Real - Historiographical Notes On Schindlers List." History Workshop Journal, 1996 Spring, n41:240-249
UC users only
"Discussion of the historical content and sources of Steven Spielberg's film Schindler's List sheds light on the historical utility of written texts and films. The scholarly debate on the film raises fundamental questions about depiction of the Holocaust, questions which can be applied to the overall production of historical works. Traditional academic practice has privileged the written work as the only "realistic" medium for representing historical reality, yet, as evident in Schindler's List, film can attain the same level of authenticity as the written work. It is necessary to look more closely at what is "real" and "invented" in both film and written text and to acknowledge the fragmentary nature of historical knowledge in any form." [Historical Abstracts]

Yacowar M.
"Schindlers Film." (Spielberg 'schindlers List') Queens Quarterly, 1994 Spring, V101 N1:35-47.

War of the Worlds

Alleva, Richard.
"Strange invaders:"War of the Worlds" & "Charlie and the Chocolate Factory".(Screen)(Movie Review)." Commonweal 132.14 (August 12, 2005): 30(2).

Denby, David.
"Stayin' Alive.(Movie Review)." The New Yorker 81.20 (July 11, 2005): 102.

Downing, Crystal
"Deconstructing Herbert: The War of the Worlds on Film." Literature/Film Quarterly, vol. 35, no. 4, pp. 274-81, 2007
UC users only

Grist, Leighton.
"Spielberg and ideology: nation, class, family, and War of the Worlds." New Review of Film & Television Studies, Apr2009, Vol. 7 Issue 1, p67-78, 12p
UC users only

Gunn, Joshua
"Father Trouble: Staging Sovereignty in Spielberg's War of the Worlds." Critical Studies in Media Communication, Volume 25 Issue 1 2008 Pages 1 Ė 27
UC users only

Hardy, Sylvia.
"H.G. Wells: the man who knew too much." Sight and Sound 15.7 (July 2005): 26(4).
UC users only
An appreciation of foresightedness of H.G. Wells who forecasted many of the technological developments in his book, "The Time Machine", that was published in 1895, is presented. Steven Spielberg's "The War of the Worlds" is an attempt to project the visions of this farsighted author.

Kauffmann, Stanley.
"On Films - Monsters and Music.(War of the Worlds)(The Beat That My Heart Skipped)(Movie Review)." The New Republic (August 1, 2005): 20.
UC users only

Lambert, Peter.
"Feel the heat, Ray.(War of the Worlds)(Movie Review)." TLS. Times Literary Supplement 5338 (July 22, 2005): 18(1).

Leo, John.
"Rooting for the Martians." U.S. News & World Report 139.3 (July 25, 2005): 58.
UC users only

McCarthy, Todd.
"Wells not dry with big & little 'Wars'.(War of the Worlds)(Movie Review)." Variety 399.7 (July 11, 2005): 23(2).

Newman, Kim.
"War of the Worlds.(Movie Review)." Sight and Sound 15.9 (Sept 2005): 83(2).

O'Brien, Geoffrey.
"Cold comfort.(War of the Worlds)(Movie Review)." The New York Review of Books 52.13 (August 11, 2005): 10(3).

Redmond, Sean
"When Planes Fall out of the Sky: The War Body on Screen." In: The war body on screen / edited by Karen Randell and Sean Redmond. New York : Continuum, 2008.
Main Stack PN1995.9.W3.W354 2008

Robertson, Barbara.
"Acts of war: ILM creates mysterious war machines, aliens, and mayhem for a gritty War of the Worlds.(Film)." Computer Graphics World 28.7 (July 2005): 12(5).
UC users only
"This article focuses on computer graphics used in the film "The War of the Worlds," directed by Steven Spielberg. The Paramount Pictures/DreamWorks film stars Tom Cruise as a New Jersey dockworker who's a deadbeat dad with two children. Industrial Light & Magic's Dennis Muren was the co-visual effects supervisor of the film along with Pablo Helman. To destroy buildings in the location shot, the compositors used live-action footage and photographs from the location shots and from the shots of miniatures, and projected them onto moveable 3D geometry. Modelers built the tripods and the aliens in Maya using subdivision surfaces. Because each corner of the image with the fractal noise pattern was animated and locked to the tripod, it moved with the tripod in 3D space and stayed properly positioned relative to the camera. Each creature had RGBa color maps, as well as maps for specular lights, to determine skin thickness for subsurface scattering to tell the shaders how to change as they receive light, and so forth. INSET: From A to Zeno." [Ebsco]

Shepard, Lucius.
"Earth Hits the Fan." Fantasy & Science Fiction, Dec2005, Vol. 109 Issue 6, p120-125, 6p
UC users only

Steyn, Mark.
"Out of touch.(War of the Worlds)(Movie Review)." Spectator 298.9231 (July 9, 2005): 42(2).

Travers, Peter.
"War of the Worlds.(Movie Review)." Rolling Stone 979 (July 28, 2005): 92(1).

Tucker, Ken.
"Smart attack.( War of the Worlds )(Movie Review)." New York 38.25 (July 18, 2005): 64(2).

Vest, Jason
"Future's End: Steven Spielberg's War of the Worlds (2005)." Film & History May2006, Vol. 36 Issue 1, p67-71, 5p
UC users only

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