In publication continuously since 1971, SubStance is a major interdisciplinary journal with a reputation for excellence. It is an international nexus for discourses converging upon literature from a variety of fields, including philosophy, the social science, science, and the arts. Readers have come to expect the unexpected from SubStance, and to experience a sense of participating in the formulation of emerging theories.
VOLUME 34, NUMBER 3, 2005:
SPECIAL ISSUE: French Cinema Studies 1920s to the Present
ARTICLES:
Cortade, Ludovic.
Lapidus, Roxanne, tr. : Le Cinéma du diable: Jean Epstein and the Ambiguities of Subversion
Watts, Philip, 1961- : Roland Barthes's Cold-War Cinema
Israel-Pelletier, Aimée : Godard, Rohmer, and Rancière's Phrase-Image
Flinn, Margaret C. : The Prescience of Élie Faure
Rio, Elena del. : Alchemies of Thought in Godard's Cinema: Deleuze and Merleau-Ponty
DiIorio, Sam : The Woodcutter's Gaze: Luc Moullet and Cahiers du Cinéma
Conley, Tom : Cinema and its Discontents: Jacques Rancière and Film Theory
Schwartz, Louis Georges : Typewriter: Free Indirect Discourse in Deleuze's Cinema
REVIEWS:
Kendall, Stuart : Pierre Guyotat: Essai Biographique (review)
Porter, Laurence M., 1936- : International Encyclopedia of Linguistics (review)
Consenstein, Peter : Jacques Roubaud: l'amour du nombre (review)