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    • When You See Me Again It Won’t Be Me: The Metamorphosis, Franz Kafka and David Lynch’s Life-long Obsession

      Grant Bromley
      October 2018
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    • Respecting the Lives of Others: Bergman Island, Hommage and Anaïs in Love

      Anthony McKibbin
      August 2022
    • Protestploitation ’70: Revisiting Zabriskie Point and Strawberry Statement

      Selen Ozturk
      July 2022
    • More than a Wink: The Nature of Reality in Blow-Up and Las Babas del Diablo

      Will Hair
      July 2022
    • Suicide and Genius: Insights into One Episode of Akira Kurosawa’s Dreams

      Matthew Michaud & Justin Richardson
      July 2022
    • Interrogating Identity: The Fractal Self in Le petit soldat

      Michael James Beck
      July 2022
    • Bigger than life, or stranger: Pedro Costa’s Vitalina Varela: Part III

      Thomas Austin
      July 2022
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    • The Violence of Privacy: A Conversation with Kazuo Hara

      Grant Bromley
      January 2021
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      Maja Korbecka
      July 2022
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      Maria Giovanna Vagenas
      July 2022
    • Human is only human when vulnerable: An Interview With Michel Franco

      Savina Petkova
      May 2022
    • ‘I Was Taunting the Western’: An Interview with Alejandra Márquez Abella

      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
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      Grant Bromley
      March 2019
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      Sanya Osha
      May 2022
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      Darragh O’Donoghue
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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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      Grant Bromley
      May 2022
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      Joy McEntee
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      Wheeler Winston Dixon
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      Mark Lager
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      Jessica Balanzategui
      January 2022
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      Cinema of Lost and Found Souls: Reviewing the 11th Revelation Perth International Film Festival

      Grant Bromley
      February 2009
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      Bérénice Reynaud
      August 2022
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      Cerise Howard
      August 2022
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      Daniel Fairfax
      August 2022
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      Roger Macy
      July 2022
    • Keeping the Fires Burning: A Week at the San Francisco Silent Film Festival

      Jonathan Mackris
      July 2022
    • New Territories and Old Dreams of Independence – Chinese and Hong Kong documentaries at the Taiwan International Documentary Festival

      Judith Pernin
      July 2022
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    • Cinema’s Baroque Flesh book review

      Concrete Passages: Cinema’s Baroque Flesh: Film, Phenomenology and the Art of Entanglement, by Saige Walton

      Grant Bromley
      March 2017
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    • Trafic at 30, End of a Film Journal

      Emmanuel Bonin
      July 2022
    • 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
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    • Two or Three Things I Know About Her

      Grant Bromley
      February 2013
      CTEQ Annotations on Film
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    • Shadows of Forgotten Ancestors (Sergei Parajanov, 1965)

      Wheeler Winston Dixon
      July 2022
    • 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
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Author Grant Bromley

Grant Bromley

Grant Douglas Bromley is a graduate of Columbia University's Film Studies MA program, and is an independent filmmaker and essayist on the cinema based out of Knoxville, TN.

The Temptations’ “My Girl” in Father of The Bride (1991)

Grant Bromley
October 2020
Pop Music in Film
I don't need no money, fortune, or fame. I've got all the riches, baby, one man can claim. -The Temptations, “My Girl” Charles Shyer’s Father of The Bride (1991) – more a contemporary reimagining of the p...

Abbas Kiarostami’s The Traveller (1974)

Grant Bromley
October 2020
CTEQ Annotations on Film
In 1959, François Truffaut's Les quatre cents coups (The 400 Blows, 1959) presented delinquent childhood in a manner that allowed for its lead actor, the 14-year-old Jean-Pierre Léaud, to become a star seemingl...

That which is planted: A Time to Love and a Time to Die (Douglas Sirk, 1958)

Grant Bromley
April 2020
CTEQ Annotations on Film
To every thing there is a season, and a time to every purpose under the heaven: A time to be born, and a time to die; a time to plant, and a time to pluck up that which is planted; A time to kill, and a time ...

A Girl in Every Port (Howard Hawks, 1928)

Grant Bromley
October 2019
CTEQ Annotations on Film
“Man’s favorite sport?” The answer, presumably, in the world of Howard Hawks, is “woman”. At least, that’s what’s on the surface in Hawks’ work. One doesn’t have to look much further for evidence of that than t...

Colloidal Images: The Silent Films of Philippe Garrel

Grant Bromley
October 2018
The Second Generation: French Cinema After the New Wave
“Life’s a gas. I hope it’s gonna last.” – T. Rex, “Life’s a Gas” Wearing only pantyhose over underwear, an androgynous child (Stanislas Robiolle) finds an aerosol can of hairspray on the headboard of his pa...

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