Latent Image

	About Latent Image
	Latent Image is a student-published film journal at Emerson College in Boston, Massachusetts. Since 1989, we have devoted its pages to the medium of film, with criticism, reviews, interviews, and more. We are proud to have published student submissions form universities around the world. The Latent Image organization meets weekly, and all meetings are open to Emerson College undergraduates.
	Latest News
	We are always accepting student submissions for our next issue. We pride ourselves on publishing a wide variety of material on the subject of film. Learn more about submitting. Latent Image is always looking for new staff members. Anyone interested in writing, publishing, or movies in general is welcome. Membership is offered only to Emerson College undergraduate students -- especially to those with a passion for cinema. How to join. Learn about Latent Image's Film Festival

	Current Issue - Summer 2002
	Tomatoes and Puberty "In 1963, Alfred Hitchcock made a motion picture entitled The Birds, a film which depicted a savage attack upon human beings by flocks of winged creatures. People laughed. In the fall of 1975, 7 million black birds invaded the town of Hopkinsville, Kentucky, resisting the best efforts of mankind to dislodge them. No one is laughing now."... More		Taiwanese Identity in the Films of Hou Hsao-hsien The cinema of Taiwanese director Hou Hsao- hsien is one of identity as perceived through history and personal experience. For almost twenty years he has been one of only a few artists to represent to the West an image of modern Taiwan. That Hou is a “Taiwanese director” already connotes a sense of identity, but to fully understand his work, we must understand first what it means to be “Taiwanese.” More

	Mimicking as Homage: The Case of Cecil B. DeMille Cecil B. DeMille is an unsung auteur, a seminal founder of Hollywood, a progenitor of Paramount studios, a master of the American biblical epic, and one of the most successful and prolific of the Tinseltown directors. Not surprisingly, he was frequently mimicked, parodied and referred to both on- and off-screen in both glowing and derogatory terms. Nowadays, the breadth and depth of this homage legacy is not always acknowledged or even recognised, thus denying DeMille his true worth to both screen culture and Hollywood history. More		The Cultural Aesthetic of Wong Kar-Wai In the films of Hong Kong director Wong Kar-Wai, most images flash across the screen, appear and disappear before the viewer’s eyes in quick flashes of recognition. These images do not seem to be highly planned but incidental; the perfect shot decided upon at the time of shooting.... More
	see more articles from this issue Spring 2003

	*Past Articles*
	Frogs, Snails, and Puppy Dogs' Tails: Gender in the Modern Horror Film (1997) A scantily clad teenage girl is screaming for her life as she is pursued through the darkened woods by a razed killer. A young girl is overcome by an unseen spirit and becomes the devil's plaything. Iris images such as these which have become synonymous with the horror genre, often considered the wild card of cinema. The recent concern with both violence and the often degrading role of women . . . More		Mr. Smith Goes to Emerson (1997) October 25, 1996, acclaimed filmmaker Kevin Smith came to Emerson College. The night's events included a showing of his 1995 film Mallrats, and a Q and A session after the film. The event, which lasted neatly four hours, was sponsored by Emerson College's Films from the Margin. However, before the event even began, Kevin let an informal panel of journalists interview him. Latent Image, Emerson Independent Video, The Berkeley. . . More

	Arabs in Hollywood: An Undeserved Image (1996) The Hollywood film industry has been responsible for giving many millions of Americans (as well as hundreds of millions more around the world) a wide variety of new impressions of various places in the world over the past century Hollywood motion pictures have exposed people to sights and sounds that they otherwise would not have been able to experience. Movies have taken . . . More		The Sado/Masochistic Gaze Revisited (1993) The theoretical space concerning the filmic gaze and its structuring around straight sado/masochistic configurations has been well explored by feminist film criticism. However, such criticism is limited by a heavy dependence on psychoanalytic theory that essentializes a gendered and heterosexist hierarchy of the filmic gaze. While the proclamation of the gendered gaze implies a possible . . . More

	Last Updated: 2/20/04 Contact us at at latentimageemerson@hotmail.com