Kevin HutchesonHow Drive Gives a Head Stomp to the Film Noir GenreHow Drive Gives a Head Stomp to the Film Noir GenreDec 6, 2014Dec 6, 2014
Kevin HutchesonWhat a Difference a War Can Make: How Mildred Pierce Reflected Changed Gender Dynamics in NoirWhat a Difference a War Can Make: How Mildred Pierce Reflected Changed Gender Dynamics in NoirDec 6, 2014Dec 6, 2014
Kevin HutchesonDeath of a Genre: How The Cabin in the Woods Magnifies Evil Dead’s FaultsDeath of a Genre: How The Cabin in the Woods Magnifies Evil Dead’s FaultsDec 5, 2014Dec 5, 2014
Kevin HutchesonThere’s No Going Back, Jack: Lost and Binary OppositionsThere’s No Going Back, Jack: Lost and Binary OppositionsDec 5, 2014Dec 5, 2014
Kevin HutchesonExpensive Moral Destruction with a Glimmer of Hope: La Dolce Vita and the Upper ClassExpensive Moral Destruction with a Glimmer of Hope: La Dolce Vita and the Upper ClassDec 5, 2014Dec 5, 2014
Kevin HutchesonMad Men: A Dissolved Masculinity and the Collapse of Emphasized FemininityMad Men: A Dissolved Masculinity and the Collapse of Emphasized FemininityDec 5, 2014Dec 5, 2014
Kevin HutchesonThe Last Days of Disco Multiplied: How Whit Stillman Reimagined His Own WorkThe Last Days of Disco Multiplied: How Whit Stillman Reimagined His Own WorkDec 5, 2014Dec 5, 2014
Kevin HutchesonAmerica Has the Bends: How Cheever Used “The Swimmer” to Critique the American DreamAmerica Has the Bends: How Cheever Used “The Swimmer” to Critique the American DreamDec 5, 2014Dec 5, 2014
Kevin HutchesonAn Evolution of Neorealism: How Fellini Changed It All with Nights of CabiriaAn Evolution of Neorealism: How Fellini Changed It All with Nights of CabiriaDec 5, 2014Dec 5, 2014
