PCR Volume 31, Number 2, Summer 2020
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Table of Contents
Guest Editor’s Note
Heather Lusty
doi:10.18278/pcr.31.2.1
Twitter in the Courtroom: Do You Object?
Regina Judge
doi:10.18278/pcr.31.2.2
Susan Sontag’s Melancholy Object in the Wake of (Post-)Postmodernism: A Case Study of the Portrait of Klein by Hannah Diamond
Senne Schraeyen
doi:10.18278/pcr.31.2.3
Where Angels Tread: The Art and Architecture of Guardian Angel Cathedral in Las Vegas, Nevada
Patricia M. Kirtley and William M. Kirtley
doi:10.18278/pcr.31.2.4
Pitiless Cruelty: Cynicism, Capitalism, and Gambling in the Writing of Mario Puzo
David G. Schwartz
doi:10.18278/pcr.31.2.5
Hearing Things, Seeing Things: The Extension of Human Faculty in Algernon Blackwood’s The Damned (1914)
Kenneth Payne
Kenneth Payne
doi:10.18278/pcr.31.2.6
“Surface, surface, surface was all that anyone found meaning in”: American Psycho and the Pictures Generation
Todd Giles
Todd Giles
doi:10.18278/pcr.31.2.7
Mother Earth: An Ecofeminist Analysis of Aronofsky’s Mother!
Isa Rehana Flores
doi:10.18278/pcr.31.2.8
William Faulker’s Film of Redemption: The Left Hand of God
Carl Rollyson
doi:10.18278/pcr.31.2.9
The Return of the Repressed (and Oppressed): A Freudo-Marxian Analysis of Jordan Peele’s Us
Seth Vannatta
doi:10.18278/pcr.31.2.10
Book Reviews
Review of Reel Latinxs Representation in US Film and TV
Erika G. Abad
doi:10.18278/pcr.31.2.11
Review of Remembrance of Things Present: The Invention of the Time Capsule
John Hay
doi:10.18278/pcr.31.2.12
Review of In the Balance: Indigeneity, Performance, Globalization
Francis Aquino
doi:10.18278/pcr.31.2.13
Review of Black Lives Matter and Music: Protest, Intervention, Reflection
Shelby Humphreys
Shelby Humphreys
doi:10.18278/pcr.31.2.14