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      Decoding Hou: Analyzing Structural Coincidences in The Puppetmaster

      Andrew James Horton
      July 2000
      Feature Articles
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    • Bigger than life, or stranger: Pedro Costa’s Vitalina Varela: Part II

      Thomas Austin
      May 2022
    • Fire Machines: Titane and the Pyrotechnics of Love

      Emmalea Russo
      May 2022
    • Cringing Violently: Reparative Watching, Phenomenology and Discomfort in Australian Cinema

      Caitlin Wilson
      May 2022
    • Deleuzian Rumblings: Residue by Desire Machine Collective

      Vedant Srinivas
      May 2022
    • Acts of Faith: On Benedetta (Paul Verhoeven, 2021)

      Peter Verstraten
      May 2022
    • ‘Is The Power of the Dog a New Zealand film? National Identity, Genre and Jane Campion’

      Alfio Leotta & Missy Molloy
      May 2022
  • Interviews
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    • Capitalism and its Discontents: an Interview with Mike Hoolboom

      Andrew James Horton
      October 2020
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    • Human is only human when vulnerable: An Interview With Michel Franco

      Savina Petkova
      May 2022
    • ‘I Was Taunting the Western’: An Interview with Alejandra Márquez Abella

      Silvia Spitta & Gerd Gemünden
      May 2022
    • “The Act of Filming is an Inner and Physical Journey in Itself”: Interview with Helke Misselwitz

      Victor Paz
      May 2022
    • Information as a music video, comedy as a diagram: Beny Wagner & Sasha Litvintseva in conversation

      Madeleine Collier
      May 2022
    • Interview with Albert Birney & Kentucker Audley

      Nolan Kelly
      May 2022
    • The Creative Leap to Fluid Consciousness: An Encounter with Ashley McKenzie

      Brigitta Wagner
      May 2022
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      Andrew James Horton
      January 2022
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      Sanya Osha
      May 2022
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      Darragh O’Donoghue
      May 2022
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      Tom Cunliffe
      January 2022
    • Tahimik, Kidlat 

      Charles Fairbanks
      January 2022
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      Dan Golding
      July 2021
    • Riefenstahl, Leni

      Jeremy Carr
      July 2021
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      Andrew James Horton
      May 2022
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      Joy McEntee
      May 2022
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      Wheeler Winston Dixon
      May 2022
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      Mark Lager
      May 2022
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      Jessica Balanzategui
      January 2022
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      No Business Like Shoah Business: The 19th Festival of Jewish Cinema

      Andrew James Horton
      April 2009
      Festival Reports
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    • Day by Day: IFFR 2022

      Madeleine Collier
      May 2022
    • Stuck in traffic: IFFR 2022

      Tara Judah
      May 2022
    • Absence and Presence at Internationale Kurzfilmtage Oberhausen. 68.

      Tara Judah
      May 2022
    • From Within the Umbra of History: A Few Things about the Films of Rainer Komers, Sohrab Hura and Sylvia Schedelbauer

      Anuj Malhotra
      May 2022
    • Film Goes On (?): The 23rd Jeonju International Film Festival

      Marc Raymond
      May 2022
    • Play-Doc 2022: António Campos, a secret filmmaker

      Ricardo Vieira Lisboa
      May 2022
  • Book Reviews
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    • Irreverent Irrelevancies: Zona by Geoff Dyer

      Andrew James Horton
      June 2012
      Book Reviews
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    • How to Do Things with Camera Movement: The Lure of the Image: Epistemic Fantasies of the Moving Camera, by Daniel Morgan

      Kyle Barrowman
      May 2022
    • The Depths of Empiricism: Werner Herzog: Ecstatic Truth and Other Useless Conquests, by Kristoffer Hegnsvad

      Tony McKibbin
      January 2022
    • Hollywood, Reinvented: Shooting Midnight Cowboy: Art, Sex, Loneliness, Liberation, and the Making of a Dark Classic, by Glenn Frankel

      Elroy Rosenberg
      January 2022
    • Rhythm and Light: Poetic Cinema and the Spirit of the Gift in the Films of Pabst, Parajanov, Kubrick, and Ruiz, by Laleen Jayamanne

      Steven Shaviro
      July 2021
    • West Side Story Redux: West Side Story: The Jets, the Sharks, and the Making of a Classic, by Richard Barrios

      Adrian Schober
      July 2021
    • Foraging in a Transforming Mediascape: Cinemas Dark and Slow in Digital India, by Lalitha Gopalan

      Megan Carrigy
      July 2021
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    • Du côté de la côte

      Andrew James Horton
      June 2014
      CTEQ Annotations on Film
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    • Shockproof (Douglas Sirk, 1949): The Insanity of Romantic Desire

      Wheeler Winston Dixon
      May 2022
    • The Grotesque Loves of Jealousy, Italian Style (Ettore Scola, 1970)

      Tiia Kelly
      May 2022
    • A Geography of Fractured Desire: Michelangelo Antonioni’s L’eclisse (1962)

      Danica van de Velde
      May 2022
    • Il Deserto Rosso (Red Desert, Michelangelo Antonioni, 1964)

      Boyd van Hoeij
      May 2022
    • ‘You Can’t Make an Omelette…’ – Modesty Blaise (Joseph Losey, 1966) and the Art of Breaking Eggs

      David Melville
      May 2022
    • Fritz Lang’s Spione (1928)

      Shari Kizirian
      May 2022
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Author Andrew James Horton

Andrew James Horton

Andrew James Horton is Editor-in-Chief of Kinoeye.

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Bleak Optimism: Balkan film at the 45th Thessaloniki International Film Festival

Andrew James Horton
February 2005
Festival Reports
November 19–28, 2004 Even before the 1990s, the Balkans was infamous for inter-ethnic tensions, and the word Balkanisation was a derogatory term to describe disintegration into squabbling factions unab...
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Making a Song and Dance of It – 34th Hungarian Film Week

Andrew James Horton
March 2003
Festival Reports
28 January – 4 February When cinema first appeared at the end of the 19th century, there was a huge debate as to whether it could be considered a valid art form or just a rather gimmicky form of sideshow...
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An Industry of Philanthropy – Balkan film at the 43rd International Thessaloniki Film Festival

Andrew James Horton
January 2003
Festival Reports
8-17 November 2002 Festival website: www.filmfestival.gr “I have always thought that European cinema should protect themselves…” said Nae Caranfil introducing his latest film Filantropica (Philanthropy...
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Ordinary Lives in Extraordinary Times – Márta Mészáros interviewed

Andrew James Horton
October 2002
Feature Articles
Long-time director Meszáros talks about filmmaking both during and post the Communist regime.
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Inhaling a Unique Atmosphere – Central and East European Film at the 37th Karlovy Vary

Andrew James Horton
October 2002
Festival Reports
4-13 July 2002 Festival website: www.iffkv.cz In the 1970s and ‘80s, a film in competition at the Karlovy Vary International Film Festival was lucky to gain any more than a handful of viewers. But now t...
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The 13th Trieste Film Festival: “Alpe Adria Cinema”

Andrew James Horton
March 2002
Festival Reports
Though geographically located in Italy, the Trieste Film Festival showcases many films from the former communist countries.
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The Outskirts Becoming the Centre – Balkan Film at the 42nd International Thessaloniki Film Festival

Andrew James Horton
December 2001
Festival Reports
Greek cinema sits alongside its international counterparts in this major East European festival.
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A Window Both Ways – Central and East European Film at the 36th Karlovy Vary International Film Festival

Andrew James Horton
September 2001
Festival Reports
A comprehensive and highly informative overview of what is an important European film festival, especially symbolic is its balanced programming between films from the West and the East.
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A Report on the 48th Pula Film Festival and the Current State of the Croatian Film Industry

Andrew James Horton
July 2001
Festival Reports
The Pula Film Festival, 22-30 June 2001 The film ended, and the spotlights came on. As the director (along with several other members of the crew) mounted the stage, the Festival audience burst into spon...
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Just Who Owns the Shop? Identity and Nationality in Obchod na korze

Andrew James Horton
December 2000
Eastern European Cinema
Czech or Slovak? When consideration of a film's origin becomes a complicated affair.

Established in Melbourne (Australia) in 1999, Senses of Cinema is one of the first online film journals of its kind and has set the standard for professional, high quality film-related content on the Internet.

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