In light of recent developments in feminist and postcolonial theory, the genre conventions of "M. Butterfly" remain consistent with David Cronenberg's earlier style of horror film.
Cinema Journal publishes essays on a wide variety of subjects from (using) diverse methodological perspectives. A "Professional Notes" section informs Society for Cinema and Media Studies members about upcoming events, research opportunities, and the latest published research.
Founded in 1950, the University of Texas Press publishes over 90 books per year and 11 journals in a wide range of fields. In addition to publishing the results of original research for scholars and students, UT Press publishes books of more general interest for a wider public. It also has a special obligation to the people of Texas to publish authoritative books on the history, culture, arts, and natural history of the state and region.
This item is part of a JSTOR Collection.
For terms and use, please refer to our
Cinema Journal © 1998 Michigan Publishing