John Sakeris |
Preface |
Grayson Cooke |
Willing to Explode: The
American Western as Apocalypse-Machine |
Lisa Coulthard |
The Open Wound
and the World's End in John Woo's
Face/Off |
Carol M. Dole |
Woman with a
Gun: Cinematic Law Enforcers on the Gender
Frontier |
Kirby Farrell |
Aliens Amok:
Men in Black Policing
Subjectivity in the '90s |
Leslie A. Fiedler |
Who's the
Cowboy? Who's the Indian?: The Slowest Gun
in the West |
Murray Forman |
Getting the Gun:
The Cinematic Representation of Handgun
Acquisition |
Cynthia Fuchs |
While my
pen blow lines ferocious: Hiphop
Politics and Gangsta Rap's New Bad Rep |
George Gerbner |
Who is Shooting
Whom?: The Content and Context of Media
Violence |
Kylo-Patrick R. Hart and Brian Anse
Patrick |
What Automatic
Guns Can Do for Motion Pictures:
Disambiguation and the Deux-ex-Machina
Finale |
Nicole Marie Keating |
If Looks Could
Kill: Female Gazes as Guns in Thelma
and Louise |
Wendy Pearson |
"Have You
Considered a Gun?": Reading Due
South as Ironic Commentary on the
American Copy Hero |
Linda Robertson |
Air Wars: Lone
Wolves and Civilized Violence at the Movies
and Live from Baghdad |
Anver Saloojee |
Oppression,
Guns, and Social Justice in
Battleship Potemkin and
1900 |
Ellen Seiter |
Mighty Morphin'
Four-Year-Olds: Heroes and Gunplay at
Preschool |
Dan Streible |
The Wonderful,
Horrible Films of Paul Verhoeven |
Lauren R. Tucker with
Alan R. Fried |
Do you have a
permit for that?: The Gun as a Metaphor for
the Transformation of G.I. Jane into G.I.
Dick |
Fred Turner |
This is for
Fighting, This is for Fun: Camerawork and
Gunplay in Reality-Based Crime Shows |
Cynthia Walker |
The Gun as Star
and the "U.N.C.L.E. Special" |
Robin Wood |
Life Against
Death: A Lecture on Gregg Araki's The
Doom Generation |
Steven Woodward |
Playing with
Words, Speaking with Guns: The Case of
Grosse Pointe Blank |
Murray
Pomerance |
Afterword |