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

Books
Journal Articles

Articles and Books on Individual films

Books

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

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 http://www.loc.gov/catdir/toc/ecip065/2005036727.html

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 http://www.loc.gov/catdir/toc/ecip064/2005035191.html

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 http://www.loc.gov/catdir/toc/ecip0720/2007024397.html

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 http://www.loc.gov/catdir/toc/ecip075/2006039109.html

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 http://www.loc.gov/catdir/toc/ecip0418/2004013598.html

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

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.

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.

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.

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.

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.

"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
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 http://www.loc.gov/catdir/toc/ecip0613/2006014047.html

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 http://www.loc.gov/catdir/toc/ecip0720/2007024397.html

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

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

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

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)
Full-text available via LION (UCB 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".

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.

Tibbetts, John C.
"Robots Redux: A.I. Artificial Intelligence (2001)." Literature/Film Quarterly. 29 (4): 256-61. 2001.
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)

Amistad

Articles/Books

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.

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

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)
"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.
"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).

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+

Reviews

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
UC users only
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 http://www.loc.gov/catdir/toc/ecip0720/2007024397.html

Jameson, Richard T.; others
"Truffaut." Film Comment Vol XXI nr 1 (Jan-Feb 1985); p 33-53 Abstract: Dedicated to François Truffaut: career appraisals, tributes from colleagues, an interview with him on his work; Steven Spielberg recalls directing him in "Close encounters of the third kind", and Todd McCarthy describes the French director's visits to the USA.

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
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).

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.

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

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

Reviews

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

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 http://www.loc.gov/catdir/toc/ecip0720/2007024397.html

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".

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

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

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 and Video. 18 (3): 273-82. 2001 July.

Jaws

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.

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

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.
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

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.

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;
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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

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

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.
MAIN: PN1998.3.S65 G67 2008;
Table of contents http://www.loc.gov/catdir/toc/ecip0720/2007024397.html

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.
MAIN: PN1998.3.S65 G67 2008;
Table of contents http://www.loc.gov/catdir/toc/ecip0720/2007024397.html

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.
MAIN: PN1998.3.S65 G67 2008;
Table of contents http://www.loc.gov/catdir/toc/ecip0720/2007024397.html

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.

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

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

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.

Roth, Lane.
"Raiders of the Lost Archetype: The Quest and the Shadow." Studies in the Humanities. 10 (1): 13-21. 1983 June.

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

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

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)

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)

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.
MAIN: PN1998.3.S65 G67 2008;
Table of contents http://www.loc.gov/catdir/toc/ecip0720/2007024397.html

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

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)
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Kauffmann, Stanley.
"On Films - Spielberg's Future." (Minority Report) The New Republic July 22, 2002 p30 (1294 words)
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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)
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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)
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MacNeil, W. P.
"Precrime never pays!: law and economics in Minority report." 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)
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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)
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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.
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"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]

Munich

Alleva, Richard.
"Making History: MUNICH' & 'SOPHIE SCHOLL: THE FINAL DAYS'.(Movie review)." Commonweal 133.5 (March 10, 2006): 17(2).
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"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]

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]

"Debating Politics at the Movies." [Editorial]. Cineaste v. 31 no. 2 (Spring 2006) p. 4
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"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).
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.

Enright, Robert
"The Reck of History." Border Crossings v. 25 no. 2 (June 2006) p. 20-2
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"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
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"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]

Lee, N.
"Munich." Film Comment v. 42 no. 1 (January/February 2006) p. 74-5
"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]

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
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Rosenberg, Warren.
"Jews and Violence: Images, Ideologies, and Realities." Shofar 25.3 (Spring 2007): 194(4).
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Schamus, J.
"Next Year in Munich: Zionism, Masculinity, and Diaspora in Spielberg's Epic." Representations (Berkeley, Calif.) no. 100 (Fall 2007) p. 53-66

Schoenfeld, Gabriel.
"Spielberg's "Munich".(Steven Spielberg)(Movie review)." Commentary 121.2 (Feb 2006): 34(7).
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Sklar, R.
"Munich." Cineaste v. 31 no. 2 (Spring 2006) p. 55-7
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"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
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"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]

Waltzer, Kenneth
"Spielberg's Munich, Ethics, and Israel." Israel Studies 11.2 (2006) 168-171
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Wrathall, J.
"Munich." Sight & Sound v. ns16 no. 3 (March 2006) p. 68, 70
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"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).
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)
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"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.

Bodnar, John.
"Saving Private Ryan and Postwar Memory in America." American Historical Review. 106(3):805-17. 2001
'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.
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Caldwell, Christopher.
"Spielberg at war." (critique of Steven Spielberg's movie 'Saving Private Ryan') Commentary v106, n4 (Oct, 1998):48 (4 pages).
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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).
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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."

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).
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"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
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"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)

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

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]

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 Action and Adventure Cinema. (pp. 153-66). London, England: Routledge, xv, 414 pp.

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.
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.

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

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.
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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
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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).

See, Fred.
"Steven Spielberg and the holiness of war." Arizona Quarterly (60:3) 2004, 109-41. (2004)
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"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]

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.

Shargel, Raphael.
"Saving Private Ryan." (movie reviews) New Leader v81, n10 (Sept 7, 1998):20 (2 pages).
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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).
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Snow, Richard F.
"Family heroes." (tribute to Steven Speilberg's film 'Saving Private Ryan')(Editorial) American Heritage v49, n7 (Nov, 1998):9 (1 page).
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).
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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.
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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
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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)
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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).

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).
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.

Schindler's List

Books

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.

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.

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

"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

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

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

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

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

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

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

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, Jürgen, 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 20