Author Bruce Bennett - Leon Gurevitch - Bruce Isaacs

Bruce Bennett - Leon Gurevitch - Bruce Isaacs

Bruce Bennett is Senior Lecturer in Film Studies and Postgraduate Director of the Lancaster Institute for the Contemporary Arts at Lancaster University, UK. He is co-editor of the collection Cinema and Technology: Theories, Cultures, Practices (Palgrave Macmillan, 2008), and author of the monograph, The Cinema of Michael Winterbottom: Borders Intimacy, Terror (Columbia, 2014). Leon Gurevitch is Deputy Head of School, Royal Society Research Scholar and Senior Lecturer at Victoria University of Wellington’s School of Design. Leon is an Associate Editor of Animation journal and has published his work, amongst others, in The Journal of Television and New Media (2010), Continuum Journal (2015), The Journal of the Royal Society New Zealand (2015), Senses of Cinema (2011), Convergence Journal (2014, 2013) and The Journal of Popular Narrative Media (2009). Bruce Isaacs is Senior Lecturer in Film Studies at the University of Sydney. He has published work on film history and theory, with a particular interest in the deployment of aesthetic systems in classical and post-classical American cinema. He is the author of the monographs Toward a New Film Aesthetic (Continuum, 2008) and The Orientation of Future Cinema: Technology, Aesthetics, Spectacle (Bloomsbury, 2013).

The Cinema of Michael Bay: Technology, Transformation, and Spectacle in the ‘Post-Cinematic’ Era

Bruce Bennett - Leon Gurevitch - Bruce Isaacs

June 2015

Michael Bay Dossier

Special Dossier edited by Bruce Bennett, Leon Gurevitch and Bruce Isaacs Michael Bay occupies a curious place in contemporary culture. The films he has directed, including the Transformers franchise (2007-2014...

In Memoriam: Sarah Maldoror (July 19, 1929–April 13, 2020)

Criminals Against Decoration: Modernism as a Heist

The New-Ark: trying to disavow anti-blackness

Claustrophobia and Intimacy in Alex Ross Perry’s Queen of Earth and Her Smell

What’s in a Cone? Barbara Loden’s Wanda Between Weakness and Resilience

Come and See The Painted Bird: A Filmmaker’s Plea

Thresholds of Work and Non-Work in Tulapop Saenjaroen’s People on Sunday

New Eastern Promises: The 21st Tallinn Black Nights Film Festival

The 34th Cinema Ritrovato Has Full Resuscitation under COVID

Women at the 2020 Toronto International Film Festival

Lest We Forget: the 31st FID Marseille

A Vitalising Cinema in an Agitated Age: The 58th New York Film Festival

Locarno 2020: The Open Doors Experience

Your Daughters Come Back to You: The 28th Pan African Film and Arts Festival

Traumatic Encounters in Italian Film: Locating the Cinematic Unconscious by Fabio Vighi

Trade Follows the Film: Cinema and the Wealth of Nations: Media, Capital, and the Liberal World System by Lee Grieveson

War, Community, and the Cinema: Front Lines of Community: Hollywood Between War and Democracy by Hermann Kappelhof and Five Came Back: A Story of Hollywood and the Second World War by Mark Harris

The Perfect Conditional: Philippe Garrel by Michael Leonard

Creating the Appearance of Being: The Art of American Screen Acting 1960 to Today, by Dan Callahan

The Restless Spectator: Anxious Cinephilia: Pleasure and Peril at the Movies, by Sarah Keller

Engaged Vision: Critical Mass: Social Documentary in France from the Silent Era to the New Wave, by Steven Ungar

Fireworks

Stairways to Paradise: Youssef Chahine and Alexandria…Why?

At Home Among Strangers (Свой среди чужих, чужой среди своих, Nikita Mikhalkov, 1974)

German Yearnings, East and West: The Sons of Great Bear (Josef Mach, 1966)

Waiting for Rain: Oppression and Resistance in Youssef Chahine’s The Land (1970)

Of East and West and High and Low: Lemonade Joe (1964)

A Man from the Boulevard des Capucines (Chelovek s bulvara Kaputsinov, Alla Surikova, 1987)

Herzog, Werner

Scott, Tony

Menzel, Jiří

Wise, Robert

Fernández, Emilio “Indio”

Fei Mu

Huston, John

The Cinema of Michael Bay: Technology, Transformation, and Spectacle in the ‘Post-Cinematic’ Era