Notes
Preface
1 For collections of law-and-film essays see Denvir 1996; ‘‘Symposium: Picturing
Justice’’ 1996; ‘‘A Symposium on Film and the Law’’ 1997; ‘‘Symposia: Law and
Popular Culture’’ 1998; ‘‘Symposium: Law and Popular Culture’’ 2001; and Ma-
chura and Robson 2001. For monographs see Black 1999; Sherwin 2000; Kamir
2001; Greenfield, Osborn, and Robson 2001; and Chase 2002. Anthony Chase,
Peter Robson, Richard Sherwin, Rebecca Johnson, Austin Sarat, Susan Silbey, and
William MacNeil have each published numerous particularly noteworthy articles.
For a presentation of the discipline of law and film see my article ‘‘Why Law and
Film, and What Does it Actually Mean?: A Perspective’’ Continuum, February 2005.
2 For a contemporary collection of essays on the topic, and an exhaustive bibliogra-
phy, see Cartmell and Whelehan 1999.
3 To be exact, the texts I have been teaching in my feminist law-and-film class,
titled ‘‘Law and Film: Women as Victims and Villains,’’ are Rashomon, Pandora’s
Box, Blackmail, Anatomy of a Murder, ‘‘A Jury of Her Peers,’’ Adam’s Rib, Thelma and
Louise, A Question of Silence, Set It O√, The Piano, and High Heels. Two other law-and-
film classes I taught relied on other films but were as exciting and pleasurable to
the students.
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