<P>Kathryn Bigelow has undoubtedly been one of Hollywood's most significant female players, well known in popular terms for films such as <i>Point Break</i> and <i>Blue Steel</i>, yet relatively unexplored in academia. Soundbites about women and guns and speculation about the role of ex-husband James Cameron ( <i>Aliens, Titanic</i>) in her career have often helped obscure rather than elucidate an understanding of her work. This collection explores how Bigelow can be seen to provide a point of intersection to a whole range of issues at the forefront of contemporary film studies and of the transformation of Hollywood into a post-classical cinema machine, with a particular emphasis on her most ambitious and controversial picture, <i>Strange Days</i>. Her place within new Hollywood is as a filmmaker that blurs genre conventions, reinscribes gender identites, and produces a breathless cinema of attractions.</P>