Vol.39,No.2(2013)

• The five senses of Canadian cinema: introduction

  5–13
  Tomáš Pospíšil
  https://doi.org/10.5817/BSE2013-2-1

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Part One: Bodies, Landscapes, Representations

• Objects of vision: the polymorphic cinema of Michael Snow

  17–35
  Dan Browne
  https://doi.org/10.5817/BSE2013-2-2

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• Sirmilik, geographical experience, and the question of landscape

  37–53
  Samantha Wilson
  https://doi.org/10.5817/BSE2013-2-3

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• On true meaning(s) and the impossibility of documentary in the films of Jennifer Baichwal

  55–70
  Darrell Varga
  https://doi.org/10.5817/BSE2013-2-4

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• Aura, aurora and aurality: the narrative of place in Picture of Light

  71–88
  Nathan Clarkson
  https://doi.org/10.5817/BSE2013-2-5

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Part Two: Permeable Boundaries, Places-In-Between

• In-between states: Sarah Polley's Take This Waltz and Xavier Dolan's Laurence Anyways

  91–106
  Jim Leach
  https://doi.org/10.5817/BSE2013-2-6

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• Away from Her? Sarah Polley's screen adaptation of Alice Munro's "The Bear Came Over The Mountain"

  107–121
  José Rodríguez Herrera
  https://doi.org/10.5817/BSE2013-2-7

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• Canadian horror, American bodies: corporeal obsession and cultural projection in American Nightmare, American Psycho, and American Mary

  123–136
  André Loiselle
  https://doi.org/10.5817/BSE2013-2-8

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• When seeing and hearing do not help: communication failures in Canadian films

  137–155
  Marcel Arbeit
  https://doi.org/10.5817/BSE2013-2-9

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