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    • Gestures of Resistance: An Interview with Tan Pin Pin

      Anton Bitel
      October 2018
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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
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    • “The cinema remains alive when it is diverse”: Interview with Jean-Gabriel Périot

      Anton Bitel
      January 2022
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    • Human is only human when vulnerable: An Interview With Michel Franco

      Savina Petkova
      May 2022
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      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
    • The Creative Leap to Fluid Consciousness: An Encounter with Ashley McKenzie

      Brigitta Wagner
      May 2022
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      Nolan Kelly
      May 2022
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      Anton Bitel
      April 2004
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      Sanya Osha
      May 2022
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      Darragh O’Donoghue
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      Jeremy Carr
      January 2022
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      Tom Cunliffe
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      Charles Fairbanks
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      Dan Golding
      July 2021
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      Anton Bitel
      January 2022
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      Joy McEntee
      May 2022
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      Jeremy Carr
      May 2022
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      Mark Lager
      May 2022
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      Anton Bitel
      December 2013
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      Madeleine Collier
      May 2022
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      Tara Judah
      May 2022
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      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
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      Ricardo Vieira Lisboa
      May 2022
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      The Encyclopedia of British Film and Cinema of Britain and Ireland edited by Brian McFarlane

      Anton Bitel
      February 2007
      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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    • Home From The Hill

      “Take Me As I Am”: Robert Mitchum’s Contradictory Masculinity in Home from the Hill (1960)

      Anton Bitel
      March 2017
      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 Anton Bitel

Anton Bitel

Anton Bitel teaches classical languages part-time at the University of Oxford, but mostly lances free in film journalism. He is at home with horror, the avant-garde and Asian cinema, and contributes regularly to Sight & Sound, Little White Lies, BFI, SciFiNow Magazine, VODzilla.co and BBC World Service’s The Arts Hour. He is a member of the Online Film Critics Society and the London Film Critics' Circle. His blog is ProjectedFigures.com.

Gender Divide in Diptych: Peter Strickland’s Berberian Sound Studio and The Duke of Burgundy

Anton Bitel
July 2019
The Analogues of Peter Strickland
The Berberian Sound Studio – a labyrinthine post-production complex in 1970s Italy to which all the events of Berberian Sound Studio are restricted – is a male world, and Peter Strickland's film traces the conf...
Gender Cattet and Forzani

The Gender(s) of Genre in Cattet and Forzani’s Ambisexual Cinema

Anton Bitel
June 2018
Split/Screen Cattet/Forzani
The strange cinematic experiments of Hélène Cattet and Bruno Forzani grow over the graves of departed genres. Their shorts and their first two features are loving pastiches of giallo, that lurid Italian detecti...
Hélène Cattet and Bruno Forzani interview

Fragments of Hélène Cattet and Bruno Forzani

Anton Bitel
June 2018
Split/Screen Cattet/Forzani
On 22 February 2018, Hélène Cattet and Bruno Forzani's Let the Corpses Tan was screened at Ciné Lumière in London's Institut Français Royaume-Uni, with the writer/directors in attendance. The following fragment...
The Dark Märchen Show!! (2009)

Alice in the Underworld: The Dark Märchen Show!! (Mari Terashima, 2009)

Anton Bitel
March 2018
Alice in Wonderland
In Alice's Adventures in Wonderland (1865) and Through the Looking-Glass, and What Alice Found There (1871), young Alice goes on a wide-eyed odyssey through the psychic flotsam and jetsam of nineteenth-century ...
Six Men Getting Sick

Six Men Getting Sick (David Lynch, 1967)

Anton Bitel
March 2017
Love Letters: 1967
(H)e(r)metic Art Ad Nauseam: David Lynch's Six Men Getting Sick (1967)  Part of our makeup as social animals is that certain of our activities, when visualised, tend to create a mirror effect in the viewer. Se...

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