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      Multichannel Memory: Notes on a Conversation with Duncan Roy

      David Heslin
      April 2004
      Feature Articles
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    • Criminals Against Decoration: Modernism as a Heist

      Andy Reischling
      October 2020
    • The New-Ark: trying to disavow anti-blackness

      Andrew Brooks
      October 2020
    • Claustrophobia and Intimacy in Alex Ross Perry’s Queen of Earth and Her Smell

      Zoë Almeida Goodall
      October 2020
    • Wanda (Barbara Loden,1971)

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

      Luise Moerke
      October 2020
    • Come and See The Painted Bird: A Filmmaker’s Plea

      Salvador Carrasco
      October 2020
    • Thresholds of Work and Non-Work in Tulapop Saenjaroen’s People on Sunday

      Steffanie Ling
      October 2020
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      David Heslin
      November 2012
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      Roger Macy
      October 2020
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      Alexandra Heller-Nicholas
      October 2020
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      Leonardo Goi
      October 2020
    • A Vitalising Cinema in an Agitated Age: The 58th New York Film Festival

      Jake Pitre
      October 2020
    • Locarno 2020: The Open Doors Experience

      Maria Giovanna Vagenas
      October 2020
    • Your Daughters Come Back to You: The 28th Pan African Film and Arts Festival

      Bérénice Reynaud
      July 2020
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    • Mad Dog Morgan

      Of Myth and Madness: Mad Dog Morgan (Australian Screen Classics), by Jake Wilson

      David Heslin
      December 2016
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    • Trade Follows the Film: Cinema and the Wealth of Nations: Media, Capital, and the Liberal World System by Lee Grieveson

      Daniel Fairfax
      October 2020
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      Joshua Sperling
      October 2020
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      Tony McKibbin
      October 2020
    • Creating the Appearance of Being: The Art of American Screen Acting 1960 to Today, by Dan Callahan

      Tony McKibbin
      July 2020
    • The Restless Spectator: Anxious Cinephilia: Pleasure and Peril at the Movies, by Sarah Keller

      Joshua Heaps
      July 2020
    • Engaged Vision: Critical Mass: Social Documentary in France from the Silent Era to the New Wave, by Steven Ungar

      Ivan Cerecina
      July 2020
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      Introduction to Black Girl

      David Heslin
      December 2002
      CTEQ Annotations on Film
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    • Stairways to Paradise: Youssef Chahine and Alexandria…Why?

      David Melville
      October 2020
    • At Home Among Strangers (Свой среди чужих, чужой среди своих, Nikita Mikhalkov, 1974)

      Darragh O’Donoghue
      October 2020
    • German Yearnings, East and West: The Sons of Great Bear (Josef Mach, 1966)

      Donovan Renn
      October 2020
    • Waiting for Rain: Oppression and Resistance in Youssef Chahine’s The Land (1970)

      David Heslin
      October 2020
    • Of East and West and High and Low: Lemonade Joe (1964)

      Cerise Howard
      October 2020
    • A Man from the Boulevard des Capucines (Chelovek s bulvara Kaputsinov, Alla Surikova, 1987)

      Martyn Bamber
      October 2020
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      David Heslin
      October 2011
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      Jeremy Carr
      October 2020
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      Brendan Black
      October 2020
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      Adrian Schober
      April 2020
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      Abel Muñoz Hénonin
      April 2020
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      Jasper Mäkinen
      October 2019
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      Bruce Jackson
      July 2019
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Author David Heslin

David Heslin

David Heslin edits Metro magazine. He formerly edited Screen Education and was a member of the Senses of Cinema editorial team.

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

David Heslin
October 2020
CTEQ Annotations on Film
Al-ard (The Land, Youssef Chahine, 1970) begins and ends in the dirt. In its opening sequence, a hand is seen patting the soil around a young cotton plant before gently plucking a few leaves. In the final shot,...

The Second Generation: French Cinema After the New Wave (Introduction)

David Heslin
October 2018
The Second Generation: French Cinema After the New Wave
In the 1970s, French film was in a post-revolutionary phase. Not only had the work of the Cahiers du cinema acolytes and their Left Bank contemporaries over the previous decade made the country’s output a short...

Vampire Country: Sex and Psychoanalysis in the Films of Catherine Binet

David Heslin
October 2018
The Second Generation: French Cinema After the New Wave
In the film that bears her name, Countess Dolingen is on screen for less than a minute. She lies dead on a slab; then, as thunder rumbles and lightning flares, she rises and begins to sing. What we see in this ...

Art in Order: The Anatomy of a Film List

David Heslin
June 2018
Stardust Memories: Cinephilia and Nostalgia
Of all of the inanimate paraphernalia in my life, the thing that I treasure more than any other is effectively weightless. It is, in one sense, a geometric construction, composed solely of criss-crossing horizo...

Forgotten Dreams: The Tumultuous Life of Lou Bunin’s Alice in Wonderland (1949)

David Heslin
March 2018
Alice in Wonderland
Of all the films to have faced censorship battles in the English-speaking world, there are few as apparently innocuous as Alice au Pays des Merveilles (Alice in Wonderland, Lou Bunin, Dallas Bower and Marc Maur...
Not Reconciled

Blowing Up the Past: Danièle Huillet and Jean-Marie Straub’s Not Reconciled (1965)

David Heslin
September 2017
CTEQ Annotations on Film
“Opposition – a strange word, I don’t like it at all; it is such a grim reminder of times that I thought were over and done with.” At a time in which notions of middle ground and political equilibrium have onc...
The Junk Shop

The Ash Heap of Meaning: Juraj Herz’s The Junk Shop (1965)

David Heslin
June 2017
CTEQ Annotations on Film
“Pals, I don’t like it in football when it’s 6-0 or 5-1. That’s no drama. What I like is when the result’s 6-5 or 4-4 – in short, when the better team loses the match of a lifetime, in which they fail to conver...
Francisca

The God Anhedonia: Manoel de Oliveira’s Francisca

David Heslin
September 2016
CTEQ Annotations on Film
“Unhappiness is a form of renouncement; it has nothing to do with disgrace. She is the most torrid of lovers, and for her we’ll sacrifice everything.” Fifty years after he first filmed the daily activities of ...
Out 1

Manifest Spectres: An Interview with Robert Fischer on Jacques Rivette’s Out 1

David Heslin
July 2016
Jacques Rivette
It’s difficult to think of a harder film to sell than Jacques Rivette’s Out 1: Noli Me Tangere (1971). Over 12 hours long and devoid of an easily describable plot, Out 1 has spent nearly half a century as an el...
Petit á Petit

Exchange, exchange: Jean Rouch’s Petit à Petit

David Heslin
March 2016
CTEQ Annotations on Film
No outside figure has contributed more to the cinema of francophone West Africa than Jean Rouch. Yet, much as he devoted his life's work to subverting the power dynamics of the anthropological gaze, his influen...
Melbourne International Film Festival Review

Of Death Throes and Transitions: 2015 Melbourne International Film Festival

David Heslin
December 2015
Festival Reports
The final film I see at the 2015 Melbourne International Film Festival is Aleksei German’s Under Electric Clouds, a collection of gloomy vignettes set in a pre-apocalyptic Russia. Yes, I think you could call it...

The End is a Transition: Wim Wenders’ Alice in den Städten

David Heslin
October 2014
CTEQ Annotations on Film
“I had a funny dream: I turned on the TV set, and sat down in a chair. I tied myself to it. Then, suddenly, a scary movie came on. I couldn’t get away. I couldn’t turn off the TV. I couldn’t close my eyes, eith...

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