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    • Collectif Jeune Cinéma at 50: A Subjective Conversation

      Carloss James Chamberlin
      July 2021
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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

      Carloss James Chamberlin
      January 2022
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      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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      Carloss James Chamberlin
      October 2005
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      Sanya Osha
      May 2022
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      Darragh O’Donoghue
      May 2022
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      Jeremy Carr
      January 2022
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      Tom Cunliffe
      January 2022
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      Charles Fairbanks
      January 2022
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      Dan Golding
      July 2021
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      Carloss James Chamberlin
      May 2022
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      Wheeler Winston Dixon
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      Jeremy Carr
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      Mark Lager
      May 2022
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      Jessica Balanzategui
      January 2022
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      Carloss James Chamberlin
      October 2014
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      Madeleine Collier
      May 2022
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      Tara Judah
      May 2022
    • Stuck in traffic: IFFR 2022

      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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      In Search of Anxious Time: Deleuze, Cinema and National Identity: Narrative Time in National Contexts by David Martin-Jones

      Carloss James Chamberlin
      August 2007
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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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      Creative Visions: (De)Constructing “The Beautiful” in Scorsese’s The Age of Innocence

      Carloss James Chamberlin
      March 2003
      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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more articles... more articles... more articles... more articles... more articles...

Author Carloss James Chamberlin

Carloss James Chamberlin

Carloss Chamberlin is a Delaware corporation, flying a Liberian flag, with assets in Switzerland and The Cayman Islands.

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Dziga Vertov: The Idiot

Carloss James Chamberlin
November 2006
Feature Articles
The Austrian Film Museum’s excellent DVD of Vertov’s Entuziazm affords the occasion for an insightful essay on the work of this legendary Soviet filmmaker.
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The Kinescope as Mirror: George Clooney Slyly Bites the Hand that Feeds Him

Carloss James Chamberlin
July 2006
Feature Articles
Good Night, and Good Luck as radical political cinema? Chamberlin astutely states the case for Clooney’s smuggler’s instinct for getting subversive political thought into mainstream cinema.
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Regarding Bitter Victory: Hollywood’s Philoctetes in the Desert or La Politique des Comédiens

Carloss James Chamberlin
February 2006
Nicholas Ray: Two Classics Revisited
For many, the films of Nick Ray are a litmus test for the pros and cons of la politique des auteurs. This article provides the most extensive analysis to date of the elusive ‘Nick Ray Style’.
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The Magic of Risking Everything For a Dream Nobody Sees: Million Dollar Baby: The Shadow Film

Carloss James Chamberlin
April 2005
On Recent Films
A unique interpretation of Clint Eastwood's much-praised film that counters much of the more straightforward readings of the film as a humanist melodrama.
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Draggin’ The River: The Ister

Carloss James Chamberlin
October 2004
Australian Film Culture
An essay that travels upriver from a viewing of this unique, probing film to that black sheep of twentieth century German philosophy, Martin Heidegger, and beyond.
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This Little Piggy Went to Market: Slamdance X Film Festival

Carloss James Chamberlin
April 2004
Festival Reports
PARK CITY – An overwarmed room somewhere in the Sodom of the Wasatch. People are looking at me with dog-eyes. They flit them down to my press-pass, which, to torture them, I have half tucked into my jacket....
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Drought de Seigneur: Le Bonheur

Carloss James Chamberlin
April 2004
CTEQ Annotations on Film
Le Bonheur/Happiness (1965 France 79 mins) Source: CNC Prod Co: Parc Film Prod: Mag Bodard Dir, Scr: Agnès Varda Phot: Claude Beausoleil, Jean Rabier Ed: Janine Verneau Art Dir: Hubert Monloup Mus: W.A. ...
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It Came from the Mystic

Carloss James Chamberlin
February 2004
Feature Articles
Revenge, innocence and the search for lost time are among the many motifs touched upon in this bold and original exegesis of one of Eastwood's most complex works.

Tavernier, Bertrand

Carloss James Chamberlin
October 2003
Great Directors
b. April 25, 1941, Lyon, France filmography bibliography web resources In his memoirs, he writes of his ambivalence towards the air raids. At first he took shelter, but as the raids became more famili...
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Emigrating to Madness: Despair (Eine Reise ins Licht)

Carloss James Chamberlin
July 2003
CTEQ Annotations on Film
Despair/Eine Reise ins Licht (1977 West Germany/France 119 mins) Source: ACMI/NLA Prod Co: Bavaria Studios/La Societe Francaise de Production Prod: Peter Märthesheimer Dir: Rainer Werner Fassbinder Scr: ...
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Lisbon Story: Portugal Year Zero

Carloss James Chamberlin
May 2003
CTEQ Annotations on Film
Lisbon Story (1994 Germany/France 105 mins) Source: NLA/ACMI Prod Co: Mikado Film Prod: Paulo Branco, Joao Canijo, Ulrich Felsberg, Wim Wenders Dir, Scr: Wim Wenders Phot: Lisa Rinzler Ed: Peter Przygoda...

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