| Introduction
Atom Egoyan and Ian Balfour | 21 |
|
| The Sweet Hereafter
Russell Banks and Atom Egoyan | 33 |
|
| Little Life Lines in Desperanto
Patricia Rozema | 65 |
|
| Outside Myself
Claire Denis and Atom Egoyan | 69 |
|
| Cultural Ventriloquism
Henri Béhar | 79 |
|
| The Birth of Cinema
Kent U. Enns | 89 |
|
| Soundtrack
Stephen Andrews and Anne Carson | 93 |
|
| Borges Night at the Movies
Jorge Luis Borges | 111 |
|
| Word Images
Raymond Bellour | 123 |
|
| Epistolarity and Textuality in Accented Films
Hamid Naficy | 131 |
|
| To Read or Not to Read: Subtitles, Trailers, and Monolingualism
B. Ruby Rich | 153 |
|
| The Use and Abuse of Subtitles
Amresh Sinha | 171 |
|
| Altérité: The D-Image Effect
Trinh T. Minh-Ha | 193 |
|
| Filmic Foreigness, Filmic Homecoming: On Gariné Torossian's Girl from Moush
Marie-Aude Baronian | 211 |
|
| Thoughts on Balkan Cinema
Fredric Jameson | 231 |
|
| (De)realizing Cinematic Time
Mary Ann Doane | 259 |
|
| The Foreign Gaze Which Sees Too Much
Slavoj Žižek | 285 |
|
| Where Are Kiarostami's Women?
Negar Mottahedeh | 309 |
|
| The Great Dance: Translating the Foreign in Ethnographic Film
Brenda Longfellow | 335 |
|
| In Limbo: Creolisation and Untranslatability
Isaac Julien and Kass Banning | 355 |
|
| The Hollywood Sound Tract
John Mowitt | 381 |
|
| A New Line in the Geometry
Eric Cazdyn | 403 |
|
| My Last Interview with Ulrike Ottinger: On Southeast Passage and Beyond
Laurence A. Rickels | 421 |
|
| The Foreignness of the Intimate, or the Violence and Charity of Perception
R. Bruce Elder | 439 |
|
| A Name on a Page
Jack Lewis and John Greyson | 489 |
|
| Blue: Archive of Devastation
Deborah Esch | 507 |
|
| Afterword
Ian Balfour | 531 |
|
