Will Straw, Ph.D

Director,    McGill Institute for the Study of Canada
Professor, Department of Art History and Communications Studies

Email:          william.straw@mcgill.ca
Twitter:      Follow @wstraw

Scroll down for list of publications and links.

EDUCATION

BA, Film Studies, Carleton University
MA, Communications, McGill  University
Ph.D, Communications, McGill University


WEBSITES

Print Culture and Urban Visuality
The Urban Night


RECENT AND ONGOING PROJECTS

The urban night as interdisciplinary object.  SSHRC Insight Development Grant, 2012-2014
The film extra and its historical meanings.  SSHRC Insight Grant, 2012-2015
Media and urban life in Montrea l (FQRSC team grant), 2010-2014

Crime, Visuality and Print Media (SSHRC, 2007-2010)
Culture of Cities (SSHRC, 2000-2005)
Documentation and Conservation of Media Arts Heritage (SSHRC, 2005-2010)
Improvisation, Community and Social Practice (SSHRC), 2007-2014

Canadian Cinema book series (co-edited with Bart Beaty)
Music and Meanings book series (co-edited with Steve Jones and AnahidKassabian)
Culture of Cities book series (co-edited with Kieran Bonner)


PUBLICATIONS

Books authored 

Cyanide and Sin:  Visualizing Crime in 50s America.  New York: PPP Publications/Andrew Roth Gallery, 2006.  Download introduction here .


Volumes Edited 

Intersections of Media and Communications: Concepts and Critical Frameworks  . Co-edited by Will Straw, Sandra Gabriele and Ira Wagman. Toronto: Emond Montgomery Publications. 2011.

Aprehendiendo al delincuente:  Crimen y medios en América del norte.   C o-edited by Graciela Martinez-Zalce, Will Straw and Susana Vargas Mexico City: CISAN/UNAM and Media@McGill, 2011.

Bâtir/Build. Co-edited with James Cisneros. Special issue of Intermédialités, no. 14, 2010.

Circulation and the City: Essays on Urban Culture.  Co-edited with Alexandra Boutros. McGill-Queens University Press, 2010.

“Are We American?” Special dossier in Quebec Studies , vol. 33, no. 48 (Fall 2009-Winter 2010), co-edited with Erin Hurley.

Global Cities/Local Sites  . Co-edited with Douglas Tallack. Melbourne: Melbourne University Publishing/Universitas 21, 2009. U21 Ebook.

Cultural Memory and Digital Preservation .”    Special issue, vol. 15, no. 3 (August, 2009) of  Convergence:  The International Journal of Research into New Media Technologies. Co-edited with Jessica Santone.

Dialogues théoriques sur la culture .”  Special issue, no. 47 (Winter, 2009) of Cahiers de recherche sociologique.   Co-edited with Anouk Belanger.

The Cambridge Companion to Rock and Pop. Co-edited by Simon Frith, Will Straw and John Street. Chinese translation, Taiwan: Cite Publishing, 2006. Korean translation, Seoul: Hannarae Publishing House, 2005. Spanish translation, Barcelona: Ediciones Robionbook, 2006.

Accounting for Culture: Thinking Through Cultural Citizenship  . Co-edited with Caroline Andrew, Monica Gattinger and Sharon Jeannotte. Ottawa: University of Ottawa Press, 2005.  Entire book now available for free download.

Cities/Scenes.”  Special issue, no. 22/23 of Public.   Co-edited with Janine Marchessault. Toronto: Public Access/York University, 2002.

The Cambridge Companion to Rock and Pop. Co-edited by Simon Frith, Will Straw and John Street. Cambridge: Cambridge University Press, 2001.

Canadian Identity: Region/Country/Nation. Co-edited by Caroline Andrew, Will Straw and J.-Yvon Thériault. Montreal: The Association for Canadian Studies, 1998.

“Paraliterary Scandals in Canada.”   Special issue of Essays in Canadian Writing . No. 62. (Montreal: ECW Press, 1998).

Theory Rules: Art as Theory, Theory and Art. Toronto: University of Toronto Press/YYZ Artists Outlet: 1996. (With Jody Berland and Dave Tomas.)

Popular Music: Style and Identity. Montreal: The Centre for Research on Canadian Cultural Industries and Institutions/International Association for the Study of Popular Music, 1995. (With Stacey Johnson, Rebecca Sullivan and Paul Friedlander.)

“The Music Industry in a Changing World,” special issue of Cultural Studies, Vol. 5, No. 3 (London: Routledge, 1991), 137 pp.  (with John Shepherd).


Articles etc.

War and Peace.  Catalogue essay.  Michael Blum, “War and Peace.”  Vox Gallery, Montreal, January – February 2014.

“A City of Sin No More”: Sanitizing Montreal in Print Culture, 1964–71.”  International Journal of Canadian Studies, no. 48 (2014), pp. 137-152.

“Les journaux et la vie urbaine.”  Médias 19, December, 2013.

“Cenas Culturais e as consequências imprevistas das políticas públicas” in Jeder Janotti, Jr. and Simone Pereira de Sá, editors.  Cenas Musicais.   São Paulo, Brazil :  Editora Anadarco, 2013.

“Public Screens and Urban Life.”  In Carol Vernallis, Amy Herzog, and John Richardson, eds., The Oxford Handbook of Sound and Image in Digital Media.  London and New York:  Oxford University Press, 2013, pp. 92-98

Introduction to the reissue of Al Palmer, Sugar-Puss on Dorchester Street [1950].  Montreal:  Véhicule Press, 2013.

“Action Classics”:  Ways of thinking about the budget DVD corpus.”  In  André Habib and Michel Marie, editors.  L’Avenir de la mémoire : patrimoine, restauration et réemploi cinématographiques.  Lille: Les Presses Universitaires du Septentrion, 2013.

Interview (with Jeder Janotti, Jr.).  “Will Straw and the importance of music scenes in music and communication studies.”    Compos, Brazil, www.e-compos.org.br  2012.

Video presentation.  “The Legacies and Futures of the Humanities in North America and Beyond.” Ameriquests vol. 9 1-2 (2012).

“Driving in Cars with Words.”  In Wilfried Raussert and Graciela Martinez-Zalce, eds.  (Re)Discovering ‘America’/(Re)Descubriendo ‘America’.  Trier, Germany:  Wissenschaftlicher Verlag Trier, 2012, pp. 19-30.

“Palavras, canções e carros: Músicas de abertura e as sequências de créditos nos filmes.”  Translated by Roberto Robalinho.  In Simone Pereira de Sa and Fernando Morais da Costa, editors.  Som + Imagem.   Rio de Janeiro:  Viveiros de Castro Editora Ltda, 2012, pp 111-126.

Music and Material Culture .”  In Martin Clayton, Trevor Herbert and Richard Middleton, eds.  The Cultural Study of Music:  A Critical Introduction .  Second Edition.  London and New York:  Routledge, 2012.

“Sizing Up Record Collections: Gender and Connoisseurship in Rock Music Culture.” In Mary Celeste Kearney, ed., The Gender and Media Reader .  L ondon and New York, Routledge, 2011. Reprint.

Nota roja and journaux jaunes: Popular crime periodicals in Quebec and Mexico.” In Graciela Martinez-Zalce, Will Straw and Susana Vargas, editors.  Aprehendiendo al delincuente:  Crimen y medios en América del norte .  Mexico City : CISAN/UNAM and Media@McGill, 2011, pp. 53-70.

“Preface.” In Viva Paci,  La comédie musicale et la double vie du cinéma .   Paris/Udine, Téraèdre/Forum, 2011, pp. 13-17 .

“The consecration of musical incoherence” Kinephanos ,  vol. 2, no. 1 (April, 2011). www.kinephanos.ca

Introduction: The Small Parts, Small Players Dossier .” Screen ,  52 (2011), 78-81.

“Scales of Presence: Bess Flowers and the Hollywood Extra.” Screen,, 52 (2011), 121-127.

“Authorship.” Reprinted in Chris Rojek, ed.,  Popular Music:  Sage Benchmarks in Culture and Society . Los Angeles and London: Sage, 2011, pp. 65-74.

“Systems of Articulation, Logics of Change: Communities and Scenes in Popular Music.” Reprinted in Chris Rojek, ed.,  Popular Music:   Sage Benchmarks in Culture and Society . Los Angeles and London: Sage, 2011, pp. 219-249 .

Stratégies formelles de la photographie d’actualité criminelle/Formal Strategies in the True Crime Photograph.”  Etudes photographiques,  no. 26 (2010).   Traduction française ici

“Action Classics: alcune riflessioni sul corpus dei DVD a basso costo.” In Leonardo Quaresima andValentina Re, editors.  Play the Movie:  Il DVD e le nuove forme dell’esperienza audioovisiva.  Torino: Edizioni Kaplan, 2010, pp. 66-77.

“Cross-Border Visualities and the Canadian Image.” Imaginations,  vol. 1, no. 1 (2010), pp. 24-38.

“Tabloid Expo.” In Rhona Richman Kenneally and Johanne Sloan , editors,  Expo ’67:  Not Just a Souvenir .  Toronto: University of Toronto Press, 2010, pp. 221-238.

“Bâtir: La ville intermédiale.” (With James Cisneros).  Intermédialités , no. 14, 2009, pp. 11-18.

“The Circulatory Turn.” In The Wireless Spectrum:  The Politics, Practices and Poetics of Mobile Media.    Editors: Barbara Crow, Michael Longford, Kim Sawchuk. Toronto: University of Toronto Press, 2010.

“Cultural Production and the Generative Matrix: A Response to Georgina Born.”  Cultural Sociology,  4: 2 (2010), pp. 1-8.

“Letters of Introduction: Film Credits and Cityscapes.” Design and Culture,  vol. 2, no. 2 (2010), pp. 155-166.

“”Systems of Articulation, Logics of Change: Scenes and Communities in Popular Music.” Reprinted in Chris Rojek, editor, Leisure Studies.  London and Thousand Oaks: Sage, 2010, pp. 375-396.

“Entsorgung der Tontrager: CDs auf dem Web durch die Stadt.” Translated by Dorothea Lobbermann. In Anke Otlepp and Christoph Ribbat, eds. Mit den Dingen Leben:  Zur Geschicte der Alltagsgegenstande.   Berlin: Franz Steiner Verlag, 2010, pp. 287-296.

“Montreal and The Captive City.” In Quebec Studies,  vol. 33, no. 48 (Fall 2009-Winter 2010), pp. 13-24.

“Spectacles of Waste.” (uncorrected proof). In Alexandra Boutros and Will Straw, editors, Circulation and the City:  Essays on Urban Culture .  Montreal: McGill Queens University Press, 2010, pp. 184-213.

“Hawkers and Public Space: Free Commuter Newspapers in Canada.” In Bart Beaty, Derek Briton, Gloria Filax and Rebecca Sullivan, eds.  How Canadians Communicate III:  Contexts of Canadian Popular Culture.    Athabasca: AU Press, 2010, pp. 79-93.

“Reinhabiting Lost Languages: Guy Maddin’s Careful.” In David Church, editor,  Playing with Memories:  Essays on Guy Maddin .   Winnipeg: University of Manitoba Press, 2009, pp. 58-69.

“The Palace, the Terminal and the Park: Three Blocks in the Middle of Montreal.” In Will Straw and Douglas Tallack, editors.  Global Cities/Local Sites.   Melbourne: Melbourne University Publishing/Universitas 21, 2009. U21 Ebook.

Soft furnishings and social forms.”  Artecontexto (Madrid), vol. 22, no. 2 (2009).

“Cities of sin, backroads of crime.” In André Jansson and Amanda Lagerkvist, eds. Strange Spaces:  Explorations into Mediated Obscurity .  F arnham, Surrey: Ashgate, 2009, pp. 169-185.

‘Shifting Boundaries, Lines of Descent: Cultural Studies and Institutional Realignments in Canada,’ Reprinted in Sourayan Mookerjea, Imre Szeman and Gail Faurcshou, editors, Canadian Cultural Studies:  A Reader .    Durham, N.C.: Duke University Press, 2009, pp. 457-471.

“The Music CD and Its Ends.”  Design and Culture,, vol. 1, no. 1 (2009), pp. 79-92.

 Music from the wrong place: On the Italianicity of Quebec Disco.” Criticism, , vol. 50, no. 1 (Winter, 2008), pp. 113-132.

“Squawkies and Talkies , Parallax , vol. 4, no. 2 (2008), pp. 20-30.

“Screens and Extremes.”  In Pierre Tremblay and Louise Poissant, eds.  Prolifération des écrans/Proliferation of Screens . Montréal : Les Presses de l’Université du Québec, 2008, pp. 405-410.

“Characterizing Rock Music Culture: The Case of Heavy Metal.” (Reprint.) In Michael Ryan, ed., Cultural Studies:   An Anthology . Boston: Blackwell, 2008.

“Documentary Realism and the Post-War Left.” In Frank Krutnik, Steve Neale, Brian Neve and Peter Stanfield, editors. Unamerican Hollywood:  Politics and Film in the Blacklist Era .   New Brunswick, N.J.: Rutgers University Press,2008, pp. 130-141

(With Richard Sutherland). “The Canadian Music Industry at a Crossroads.” In David Taras, Frits Pannekoek, and Maria Bakardjieva, editors.  How Canadians Communicate II:  Media, Globalization and Identity .   Calgary, Alberta: University of Calgary Press, 2007, pp. 141-165.

“Embedded Memories.” In Charles Acland, editor. Residual Media .   Minneapolis: University of Minnesota Press, 2007, pp. 3-15.

“Systems of Articulation, Logics of Change: Scenes and Communities in Popular Music.” Reprinted in Ken Gelder, editor, The Subcultures Reader ,  2nd Edition. London: Routledge, 2005.

 Pathways of Cultural Movement.” In Caroline Andrew, Monica Gattinger, Sharon Jeannotte and Will Straw, editors. Accounting for Culture:  Thinking Through Cultural Citizenship .   Ottawa: University of Ottawa Press, 2005, pp. 183-197.

”Les voies du mouvement culturel.” Sociologie et Sociétés, vol. XXXVII, no. 1 (Spring, 2005), pp. 197-215.

 Cultural Scenes .”  Loisir et société/Society and Leisure,  vol. 27, no. 2 (Autumn, 2004), pp. 411-422.

 Traffic in Scandal: The Case of Broadway Brevities.” University of Toronto Quarterly,  vol. 73, no. 4 (Fall, 2004), pp. 947-971.

“Ciudades de perdición: la economía moral de las fronteras norteamericanas”, In Alejandro Mercado Celix and Elizabeth Gutiérrez Romero, editors. Fronteras en América del Norte, Estudios Multidisciplinarios , México: CISAN-UNAM, 2004, pp. 149-160. Translated by Amelia Estévez.

“Systems of Articulation, Logics of Change: Scenes and Communities in Popular Music.” Reprinted in Simon Frith, editor, Popular Music:  Critical Concepts in Media and Cultural Studies .  London: Routledge, 2004, pp. 268-288.

“The English-Canadian Recording Industry since 1970″ (reprint). In Daniel J. Robinson, editor. Communication HIstory in Canada .  Don Mills, Ontario: Oxford University Press, 2004, pp. 244-252.

“No Future? The Canadian Music Industries.” In David Taras, Frits Pannekoek, Maria Bakardjieva, editors.  How Canadians Communicate .   Calgary: University of Calgary Press, 2003, pp. 203-221.

“Estudos Culturais no Canada e nos Estados Unidos.” In Itania Maria Mota Gomes and Maria Carmem Jacob de Souza, eds.  Media & Cultura .   Salvador: Federal University of Bahia, 2003. (Original text, translated by Jeder Janotti), pp. 13-27.

“L’industrique du disque au Québec.” In Denise Lemieux, ed. Traité de la culture.  Québec: Presses de l’Université Laval, 2002. (English version here)

Value and Velocity: The 12-inch Single as Medium and Artefact?.” In Keith Negus and David Hesmondhalgh, editors,  Popular Music Studies .   London: Edward Arnold, 2002.

“Reinhabiting Lost Languages: Guy Maddin’s Careful.” In Gene Walz, ed. Canada’s Best Features:  Critical Essays on 15 Canadian Films .   Amsterdam and New York: Rodopi, 2002, pp. 304-317.

“Dilemmas of Definition.” In Joan Nix and Jeannette Sloniowski, editors, Slippery Pastimes:  Reading the Popular in Canadian Culture .   Waterloo: Wilfred Laurier University, 2002. Manuscript version here.

“Musica, industria y la economia politica.” In Monica Gambrill, editor, La globalizacion y sus manifestaciones en América del Norte . Mexico City: Centro de Investigaciones sobre América del Norte, 2002, pp. 395-414.

 Scenes and Sensibilities.” In Public , no. 22/23 (2002), pp. 245-257.

In and Around Canadian Music .”  Journal of Canadian Studies,  vol. 35, no. 3 (Fall, 2000), pp. 173-183.

 Exhausted Commodities: The Material Culture of Music.” Canadian Journal of Communication,  vol. 25, no. 1 (Winter, 2000), pp. 175-185.

Proliferating Screens.” Screen , vol. 41, no. 1 (Spring, 2000), pp. 115-119.

“Music as Commodity and Material Culture.” In Repercussions  , vol. 7-8 (Spring-Fall, 1999-2000, published 2002), pp. 147-172.

“Consumption.” In Simon Frith, Will Straw and John Street, editors.  The Cambridge Companion to Pop and Rock .   Cambridge: Cambridge University Press, 2001, pp. 53-73.

Dance Music.” In Simon Frith, Will Straw and John Street, editors.The Cambridge Companion to Pop and Rock.   Cambridge: Cambridge University Press, 2001, pp. 158-175.

“The Political Economy of Credibility.” In Tony Mitchell and Peter Doyle, editors.  Changing Sounds:  New Directions and Configurations in Popular Music .   Sydney: University of Technology, Sydney, 2001, pp. 260-262.

“Authorship.” In Bruce Horner and Thomas Swiss, eds.  Key Terms in Popular Music and Culture.    Malden, Mass. and Oxford: Blackwell Publishers, 1999, pp. 199-208.

“Ornament, Entrance and the Theme Song.” In Philip Brophy, ed.  Cinesonic:  The World of Sound in Film. North Ryde, NSW: Australian Film Television and Radio School, 1999, pp. 213-228.

“Canadian Cinema.” In John Hill, Pamela Church Gibson, eds.  The Oxford Guide to Film Studies.  Oxford: Oxford University Press, 1998, pp. 23-26.

“Dilemnas of Canadian Nationalism.” In Australian-Canadian Studies , Vol 15 no. 2, Vol. 16, no. 1 (double issue), 1998, pp. 189 – 195.

‘Introduction’. Essays in Canadian Writing , no. 62. Special Issue on “Paraliterary Scandals in Canada”. (Fall, 1997), pp. 1-11.

“Sizing Up Record Collections: Gender and Connoisseurship in Rock Music Culture.” In Sheila Whiteley, ed. Sexing the Groove:  Popular Music and Gender .  London: Routledge,1997, pp. 3-16.

“‘Organized Disorder’: The Changing Space of the Record Shop.” In Steve Redhead, Derek Wynne and Justin O’Connor, eds.  The Clubcultures Reader:  Readings in Popular Cultural Studies .  Oxford: Blackwell Publishers Ltd., 1997. pp. 57-65.

Urban Confidential: The Lurid City of the 1950s .” In David B. Clarke, ed. The Cinematic City. London: Routledge, 1997, pp. 110-128.

“Scenes and Communities in Popular Music.” In Ken Gelder and Sarah Thornton, eds.  The Subcultures Reader.  London: Routledge, 1996.

“La crisis del nacionalisme cultural,” in Graciela Martinez-Zalce, ed. ¿Sentenciados al aburrimiento?: Tópicos de cultura canadiense.  M exico City: Universidad Nacional Autónoma de México, 1996, pp. 17-29.

“Una nación según el surco discográfico: La industria de la grabación en Canadá,” in Graciela Martinez-Zalce, ed.  ¿Sentenciados al aburrimiento?: Tópicos de cultura canadienseé.   Mexico City: Universidad Nacional Autónoma de México, 1996, pp. 105-133.

“Sound Recording.” In Michael Dorland, ed.  The Cultural Industries in Canada .  Toronto: James Lorimer and Company, 1996, pp. 95-117.

“Bewitched, Bothered and Bewildered.” In Will Straw, Jody Berland and Dave Tomas, ed. ,  Theory Rules:  Art as Theory, Theory and Art.   Toronto: University of Toronto Press/YYZ, 1996.

“Getting Down To Business: Cultural Politics and Policies in Canada,” [revised version] in Benjamin D. Singer, ed. Communications in Canadian Society , Fourth Edition (Toronto: Nelson Canada, 1995), pp. 332-356 [with Jody Berland].

“The Booth, The Floor and the Wall: Dance Music and the Fear of Falling.” In Will Straw, Stacey Johnson, Rebecca Sullivan and Paul Friedlander, eds. Popular Music:  Style and Identity.  Montreal: The Centre for Research on Canadian Cultural Industries and Institutions/International Association for the Study of Popular Music, pp. 249-254.

“In and Around The Raft” (with Marwan Hassan), in Jocelyne Doré, ed., The Raft of the Medusa  (Montreal: Black Rose, 1994), pp 87-110.

‘The English Canadian Recording Industry Since 1970,’ in Tony Bennett, Simon Frith, Larry Grossberg, John Shepherd and Graeme Turner (eds.) Rock and Popular Music:  Politics, Policies, Institutions  (London, Routledge, 1993), pp. 52-65.

‘Characterizing Rock Music Culture: The Case of Heavy Metal.’ Reprinted in Simon During, editor, The Cultural Studies Reader (London: Routledge, 1993), pp. 368-381.

“Popular Music and Post-Modernism in the 1980s.” Reprinted in Simon Frith and Andrew Goodwin, editors,Sound and Vision  (London: Routledge, 1993), pp. 3-21.

‘Shifting Boundaries, Lines of Descent: Cultural Studies and Institutional Realignments in Canada,’ in Valda Blundell, and Ian Taylor (eds.) Relocating Cultural Studies: New Directions in Theory and Research  (London: Routledge, 1993), pp. 86-102.

The Floor, The Booth and the Wall .”  Public  , no. 8 (1993).

Montreal Confidential: Notes on an Imagined City ,” CineAction, No. 28 (Spring, 1992), pp. 58-64.

‘Systems of Articulation, Logics of Change: Scenes and Communities in Popular Music,’  Cultural Studies, Vol. 5, No. 3 (October, 1991) 361-375.

‘Getting Down To Business: Cultural Politics and Policies in Canada,’ in Benjamin Singer (ed.)Communications in Canadian Society  (Scarborough: Nelson Canada, 1991), pp. 276-294 (with Jody Berland).

‘The Myth of Total Cinema History,’ in Ron Burnett (ed.) Explorations in Film Theory (Bloomington, Indiana: University of Indiana Press, 1991), pp. 237-246.

‘Music video in its contexts: popular music and post-modernism in the 1980s,’ reprinted in Japanese collection of articles on music video, title and publication data untranscribable (Ongaku No Tomo Sha Corporation, 1990).

‘Heavy Metal,’ reprinted in Simon Frith and Andrew Goodwin (eds.) On Record  (New York: Pantheon Books, 1989), pp. 97-110.

‘Rock For Ethiopia,’ in Simon Frith (ed.) World Music, Politics and Social Change  (Manchester and New York: Manchester University Press, 1989) pp. 204-209.

‘Radio and Sound Recording Policy in Canada,’ Australian-Canadian Studies ,  Vol. 7, Nos. 1-2 (1989), pp. 163-166 (with Karyna Laroche).

‘Music video in its contexts: popular music and post-modernism in the 1980s,’ Popular Music 7 (1988), pp. 247-266.

‘The Discipline of Forms: Mannerism in Recent Cinema,’ Cultural Studies,  1 (October, 1987), pp. 361-376.

‘Teaching Critical Media Analysis,’ Canadian Journal of Communication , Vol. ll, No. l (Winter, 1985), pp. 5-16.

‘Rock Music and Rock Music Cultures,’ Canadian University Music Review,  Vol. 5 (1984), pp. 104-122.

‘The Myth of Total Cinema History,‘ Cinetracts, No. 9 (Winter, 1980), pp. 8-16.


Published Translations (French to English)

Sarah Kofman.  Camera Obscura:  Of Ideology .  L ondon: Athlone Press, 1998 and Ithaca, New York: Cornell University Press, 1998.

Christine Buci-Glucksmann, “Configurations of the Gaze,” in Christine Davis (exhibition catalogue) (Guelph and Ivry-sur-Seine: Centre d’Art Contemporain/Macdonald Stewart Art Centre, 1993), pp. 55-61.

Sarak Kofman, ‘Camera Obscura of Ideology,’ in Public, No. 7 (1993), pp. 153-170.

‘Interview with Michel Brault,’ in Cinetracts, Vol. 3, No. 2 (Spring, 1980), pp. 37-48.

Louise Carrière, ‘Quebec Film 1966-1980: An Historical Overview,’ in Cinetracts, Vol. 4, No. 4 (Winter, 1982), pp. 36-51.

Boris Eizykman, ‘Chance and Science-Fiction: SF As Stochastic Fiction,’ in Science-Fiction Studies,  Vol. 10, No. 1 (March, 1983), pp. 24-3

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