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    • ‘Chromatic Frankenstein’s Monsters?’: Restoration, Colour and Variants of Georges Méliès’s Voyage dans la Lune

      Cerise Howard
      December 2012
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      Andy Reischling
      October 2020
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      Andrew Brooks
      October 2020
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      Zoë Almeida Goodall
      October 2020
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      What’s in a Cone? Barbara Loden’s Wanda Between Weakness and Resilience

      Luise Moerke
      October 2020
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      Salvador Carrasco
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      Cerise Howard
      December 2018
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      Roger Macy
      October 2020
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      Alexandra Heller-Nicholas
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      Leonardo Goi
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      Jake Pitre
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      Maria Giovanna Vagenas
      October 2020
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      Bérénice Reynaud
      July 2020
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      Claire Denis by Martine Beugnet

      Cerise Howard
      October 2005
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      Daniel Fairfax
      October 2020
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      Joshua Sperling
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      Tony McKibbin
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      Tony McKibbin
      July 2020
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      Joshua Heaps
      July 2020
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      Cerise Howard
      June 2015
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      David Melville
      October 2020
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      Darragh O’Donoghue
      October 2020
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      Donovan Renn
      October 2020
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      David Heslin
      October 2020
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      Cerise Howard
      October 2020
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      Martyn Bamber
      October 2020
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      October 2002
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Author Cerise Howard

Cerise Howard

Cerise Howard is a New Zealand-born co-curator of the Melbourne Cinémathèque who co-founded the Czech and Slovak Film Festival of Australia and was its Artistic Director from 2013-2018. She sits on the International Jury Board of the East-West: Golden Arch Awards, founded in Moscow in 2018, and was a founding member of tilde – Melbourne Trans & Gender Diverse Film Festival. Other recent writing of hers on film can be found on the byNWR website, in Metro, The Big Issue, The Age and, circa 2017, in the KVIFF Festival Daily. She has co-hosted the film criticism show "Plato’s Cave" on Melbourne radio station 3RRR since 2014 and is a Studio Leader at RMIT University, newly specialising in incubating film festivals and contesting the canon. Away from film she plays bass with Queen Kong and The HOMOsapiens.

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

Cerise Howard
October 2020
CTEQ Annotations on Film
It’s not news that the 1960s were an extraordinarily fecund time for cinema in Czechoslovakia; the output of the filmmakers connected to the FAMU-centred Czechoslovak New Wave has been celebrated unstintingly, ...

Birds, Orphans and Fools (1969): the Rule of Three in Juraj Jakubisko’s Exemplary Gallows Bacchanalia

Cerise Howard
July 2020
CTEQ Annotations on Film
Jakubisko is kin to Brazil's Glauber Rocha, America's Robert Downey, Mexico's Alejandro Jodorovski, Yuri Ilyenko of the Ukraine, Sergei Paradzhanov of Armenia, Miklós Jancsó of Hungary, and in a way to Poland's...

Of liberation, and of states of undress and redress both: The 54th Karlovy Vary International Film Festival

Cerise Howard
October 2019
Festival Reports
Oftentimes reports of mine on the venerable Karlovy Vary International Film Festival (KVIFF) have looked a mite askance at its gender politics. But along comes 2019 and, shut the front door – the 54th KVIFF’s t...

From Saturday to Sunday (Gustav Machatý, 1931), or: Don’t you wonder sometimes ’bout sound and vision?

Cerise Howard
September 2019
CTEQ Annotations on Film
The work of Czech director Gustav Machatý (1901–1963) is enjoying a surprise renaissance. The 76th Venice Film Festival had as its pre-opening event a screening of a new digital restoration of Extase (Ecstasy),...

It’s a Cobbler’s Lot: Peter Strickland’s Penchant for Synaesthetic, Švankmajerian Surrealism and Fetishism

Cerise Howard
July 2019
The Analogues of Peter Strickland
"One sensation of mind, one fabric in recollection of touch." - Saleswoman Miss Luckmoore (Fatma Mohamed), waxing typically gnomic, in In Fabric (Peter Strickland, 2018). Peter Strickland's latest hyper-styli...

A Time of Reckoning? The 53rd Karlovy Vary International Film Festival

Cerise Howard
October 2018
Festival Reports
This year’s Karlovy Vary International Film Festival (KVIFF) was always going to have a lot to address. For Czechs (and Slovaks), 2018 is a year overladen with anniversaries, with two in particular impossible t...
Prefab Story

Prefab Story (Věra Chytilová, 1979): Farcical Times at a Prague High-rise

Cerise Howard
June 2018
CTEQ Annotations on Film
A common misconception in the West is that Věra Chytilová directed only a few significant, narratively and aesthetically adventurous films, and all in the 1960s – O něčem jiném (Something Different, 1963), 1966...
Howard Film Festival

A Queer Tale of Two Sister Cities, 100 Years and the First FIPRESCI Colloquium Dedicated to Russian Cinema

Cerise Howard
December 2017
Festival Reports
The First FIPRESCI Colloquium Dedicated to Russian Cinema 13-15 November 2017 Lenfilm Studio, St. Petersburg Colloquium website: https://new.culturalforum.ru/event/2017-11-12-pervyj-kollokvium-fipressi-posvy...
Pearls of the Deep

Pearls of the Deep, or Five Masterly Apprentices’ Guides to Bohumil Hrabal’s Gift of the Gab

Cerise Howard
September 2016
CTEQ Annotations on Film
The 1960s' Czechoslovak New Wave was lightning in a bottle, a glorious film miracle born of an unrepeatable collision of societal and political factors. An extraordinary pool of talented young filmmakers came t...
Fribourg

Of Female Trouble Here, There and Everywhere: The 30th Fribourg International Film Festival

Cerise Howard
July 2016
Festival Reports
Ah, anniversaries. How readily a landmark – and a sense of obligation towards its acknowledgment being given a due sense of occasion – might become more millstone than milestone. And so the challenge presented ...
The Beast

The Nature of The Beast Remains… Irrepressible!

Cerise Howard
May 2016
CTEQ Annotations on Film
Few more controversial figures have enlivened cinema than the Polish polymath Walerian Borowczyk; far fewer still experienced so massive a fall from critical grace. At the epicentre of this fall lay La Bête (Th...
The Bitter Tears of Petra von Kant

Whose are the Bitter Tears of Petra von Kant?

Cerise Howard
March 2016
CTEQ Annotations on Film
“When it came to Fassbinder, ... one was made to feel that the real drama in film after film wasn't so much in the makeshift characters or the fruit-salad images but in the offscreen intrigues of a baby Caligul...

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Michelle Carey • Daniel Fairfax • Fiona Villella • César Albarrán-Torres

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