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      'The Way of the Samurai' - Ghost Dog, Mishima, and Modernity's Other

      Benjamin Halligan
      September 2000
      Feature Articles
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    • When Knowledge Takes Over Action: A Narrative Analysis of Three Georgian Conflict-Sensitive Films: The Other Bank, Tangerines, and Corn Island

      Khatuna Maisashvili
      January 2023
    • Values of Baz Luhrmann’s Elvis: A Carnival Ride

      Laleen Jayamanne
      January 2023
    • Fellini’s Memory: Amarcord

      Bruce Jackson
      January 2023
    • More than Mimicry: On Puppets and Interdependency in Annette and The Double Life of Véronique

      Indigo Bailey
      January 2023
    • After Structural Film: The Conceptual films of Morgan Fisher

      Arindam Sen
      January 2023
    • This Body Keeps the Score: the films of Saidin Salkic

      Dirk de Bruyn
      January 2023
  • Interviews
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    • “West Germany Was Stolen from Us”: Dominik Graf on the Role of German Unification in His Films

      Benjamin Halligan
      January 2023
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    • Splice Here A Projected Odyssey: An Interview with Rob Murphy

      Tara Judah
      January 2023
    • Piaffe: Interview with Ann Oren

      Maria Giovanna Vagenas
      January 2023
    • Flesh Memories: Yeo Siew Hua’s Expanded Cinema in The Once and Future

      Toby Wu
      January 2023
    • In Search of Lost Time: An Interview with Christophe Honoré

      David A. Gerstner
      January 2023
    • Slow Fireworks: The Films of Amy Halpern

      Arindam Sen
      January 2023
    • About Time: Interview with Cyril Schäublin

      Hamed Sarrafi
      January 2023
  • Great Directors
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    • Tati, Jacques

      Benjamin Halligan
      May 2002
      Great Directors
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      Sherry Johnson
      January 2023
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      Giampiero Frasca
      January 2023
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      Jeremy Carr
      October 2022
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      Hal Young
      October 2022
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      Sara Delshad
      October 2022
    • Smith, Jack: Travails of an Underground Artist

      Sanya Osha
      May 2022
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      Benjamin Halligan
      May 2022
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      Jacob Agius
      October 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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    • Protagonists and Perpetrators: The 13th Yamagata International Documentary Film Festival

      Benjamin Halligan
      December 2013
      Festival Reports
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      Leonardo Goi
      January 2023
    • Politics, Isolation, Pandemic: The 35th Tokyo International Film Festival

      Kohei Usuda
      January 2023
    • The Kids Aren’t Alright: The 27th Busan International Film Festival

      Marc Raymond
      January 2023
    • A Report on the Exhibition Threshold (works by Dirk de Bruyn, Guy Grabowsky & Mat Hughes)

      Glenn D'Cruz
      January 2023
    • All the Pain and Exploitation: 66th London Film Festival

      Tara Judah
      January 2023
    • BABY, THE RAIN MUST FALL … on the Claude Sautet retrospective at the 70th San Sebastian International Film Festival

      Neil Young
      January 2023
  • Book Reviews
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    • Almodrama and the Aesthetics of Excess: Latin American Melodrama: Passion, Pathos and Entertainment edited by Darlene J. Sadlier All About Almodóvar: A Passion for Cinema edited by Brad Epps and Despina Kakoudaki

      Benjamin Halligan
      October 2010
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    • For a Double-Edged Theory: Christian Metz’ Essais sur la signification au cinéma at 50

      Abel Muñoz Hénonin
      January 2023
    • Dennis Lim’s Tale of Cinema: A Meta-Monograph

      Marc Raymond
      January 2023
    • In search of a Global Filipino Auteur: Sine ni Lav Diaz, edited by Parichay Patra and Micheal Kho Lim

      Pujita Guha
      January 2023
    • Philosophy for the Blockbuster Audience: Christopher Nolan: Filmmaker and Philosopher, by Robbie B. H. Goh

      Tom Boniface-Webb
      October 2022
    • Do we need Digital Tarkovsky?

      Corey P. Cribb
      October 2022
    • Trafic at 30, End of a Film Journal

      Emmanuel Bonin
      July 2022
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      Hell’s Hinges

      Benjamin Halligan
      July 2005
      CTEQ Annotations on Film
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    • Pickpocket (Robert Bresson, 1959)

      Emma Fajgenbaum
      March 2023
    • I Remember: Amarcord (Federico Fellini, 1973)

      Jacob Agius
      February 2023
    • The Lure (Agnieszka Smoczyńska, 2015)

      Faith Everard
      December 2022
    • Othering Heights: The Queerest of the Queer in Rosa von Praunheim’s City of Lost Souls (1983)

      Cerise Howard
      December 2022
    • To walk away, you gotta leave something behind, or a long story short: Hedwig and the Angry Inch (2001)

      Cerise Howard
      December 2022
    • Lost Paradise: F.W. Murnau’s Tabu: A Story of the South Seas (1931)

      Andréas Giannopoulos
      November 2022
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more articles... more articles... more articles... more articles... more articles...

Author Benjamin Halligan

Benjamin Halligan

Benjamin Halligan's critical biography of Michael Reeves is published by Manchester University Press.

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Russian Soul, Eurotrance: Instant Light: Tarkovsky Polaroids edited by Giovanni Chiaramonte and Andrei A. Tarkovsky

Benjamin Halligan
February 2005
Book Reviews
If only because of the softness of the image, and that unavoidably yellowy-brown colour palette characteristic of Polaroid snaps, these photographs could not deserve recognition on their own merits. But as arte...
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Against Cinephiliphobia: Movie Mutations: The Changing Face of World Cinephilia edited by Jonathan Rosenbaum and Adrian Martin

Benjamin Halligan
July 2004
Book Reviews
The disappointment of Peter Cowie's recent Revolution! The Explosion of World Cinema in the '60s (1) is in the failure of the book to capture the evolving as-it-happens aspect of his four-decades-worth of the I...
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Leeds International Film Festival, 2003

Benjamin Halligan
December 2003
Festival Reports
The 11 days of the 17th Leeds International Film Festival delivered a diverse and challenging programme. Leeds has always been adventurous and iconoclastic: the 2002 program included Miklós Jancsó films and...
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Visconti Revisited Take 2: Luchino Visconti by Geoffrey Nowell-Smith

Benjamin Halligan
July 2003
Book Reviews
(Third edition, London: BFI, 2003) The received wisdom on Luchino Visconti involves citing his apparently contradictory nature as the basis for the uniqueness of his work. He, and it, embodies the seemingly ...
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The Remaining Second World: Sokurov and Russian Ark

Benjamin Halligan
March 2003
Film in the Eye of History
Halligan's rich discussion of Sokurov's Russian Ark weaves together analyses of history, politics and art.
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The Felliniesque Besieged: Fellini Lexicon by Sam Rohdie

Benjamin Halligan
January 2003
Book Reviews
(London: BFI Publications, 2002) “I first met your name in the Pasquino cinema in Rome. In Trastevere. They show films in English there. You had written the sceneggiatura for a film I saw that I liked. An Angl...
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On the Interval between Reality and Unreality

Benjamin Halligan
November 2001
Terror, Disaster, Cinema and Reality - A Symposium
As a counterpoint to Slavoj Žižek's interpretation of September 11th – the World Trade Centre Twin Towers as symbols of “virtual capitalism” and “the stark separation between the digitised First World and the T...
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Notes on Negative Space

Benjamin Halligan
February 2001
CTEQ Annotations on Film
Negative Space (1999 UK 39 mins) Source: CAC/NLA Prod Co: Illuminations Television Prod: Keith Griffiths Dir, Scr, Ph: Chris Petit Ed: Emma Matthews Mus: Tracks by Don Covay, Bob Dylan, Lee 'Scratch' Per...
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WR: Mysteries of the Organism by Raymond Durgnat

Benjamin Halligan
December 2000
Book Reviews
(BFI London 1999) An early book by Raymond Durgnat - a monograph published in 1963 by Motion Publications (London) - was called Nouvelle Vague: the first decade. Whatever Nouvelle Vague activity was going on...

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