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      Jeremi Szaniawski
      April 2020
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      Thomas Austin
      May 2023
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      Santasil Mallik
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      Khatuna Maisashvili
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      A Report on the 52nd Melbourne International Film Festival

      Jeremi Szaniawski
      October 2003
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      Sian Mitchell
      May 2023
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      Carmen Gray
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      Will DiGravio
      May 2023
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      Jay Kuehner
      May 2023
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      Tara Judah
      May 2023
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      Bérénice Reynaud
      May 2023
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      Jeremi Szaniawski
      June 2013
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      Holly Willis
      May 2023
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      Sam Woolfe
      May 2023
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      Abel Muñoz Hénonin
      January 2023
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      Marc Raymond
      January 2023
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      Pujita Guha
      January 2023
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      Tom Boniface-Webb
      October 2022
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      Miklós Jancsó’s The Confrontation (1969)

      Jeremi Szaniawski
      September 2015
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      Jacob Agius
      May 2023
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      Alex Williams
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      Amelia Leonard
      May 2023
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      Andrew Le
      May 2023
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      Digby Houghton
      May 2023
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      Jessica Balanzategui
      May 2023
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Author Jeremi Szaniawski

Jeremi Szaniawski

Jeremi Szaniawski is Assistant Professor in Comparative Literature and Film Studies at the University of Massachusetts, Amherst. He is the author of The Cinema of Alexander Sokurov: Figures of Paradox (Wallflower, 2014) and the coeditor of Directory of World Cinema: Belgium, with Marcelline Block (Intellect, 2014), The Global Auteur: The Politics of Authorship in 21st Century Cinema, with Seung-hoon Jeong (Bloomsbury, 2016), and On Women’s Films Across Worlds and Generations, with Ivone Margulies (Bloomsbury, 2019).

Introduction: “How Do You Like It?” (Forty Years On) – The Shining in the Age of Global Quarantine

Jeremi Szaniawski
July 2020
The Shining at 40
“Forever and ever (and ever)” since its release, Stanley Kubrick’s The Shining (1980) has generated an uncanny amount of literature, by critics and fans alike. The critical response, following initially lukewar...

“Come Out, Come Out, Wherever You Are”: The Legacy of The Shining in Contemporary Cinema

Jeremi Szaniawski
July 2020
The Shining at 40
Much like Alfred Hitchcock with Psycho (1960), Stanley Kubrick sought, with The Shining (1980), to conduct an experiment in cinematic fear. While neither of the films can be reduced to it, this experimental dim...

The Shining and Us – Participants to the Dossier Reflect on Their First Encounter with Stanley Kubrick’s The Shining

Marta Figlerowicz, Alexander Nemerov, Joy McEntee, Christine Lee Gengaro, Geoffrey Cocks, Ian Christopher, Mick Broderick, Jessica Balanzategui, Nathan Abrams, Valerio Sbravatti, Ilaria Franciotti, Rick Warner, Jeremi Szaniawski, Pip Chodorov, Daniel Fairfax and Filippo Ulivieri
July 2020
The Shining at 40

“Mesdames, mesdemoiselles, messieurs: un classique!”: Eric Rohmer’s Film Theory (1948-1953) – From ‘École Scherer’ to ‘Politique des Auteurs’ by Marco Grosoli

Jeremi Szaniawski
October 2019
Book Reviews
In 1987, when his book, which serves as one of the first efforts in English to reassess and appraise the films and legacy of Roberto Rossellini (1987), was first released, Peter Brunette pointed to the dearth o...

A Mensch’s Moviemaking: Stanley Kubrick: New York Jewish Intellectual, by Nathan Abrams

Jeremi Szaniawski
July 2019
Book Reviews
Stanley Kubrick belongs to the category of select filmmakers to have elicited a massive body of critical work as well as gained a cult following among fans and mainstream audiences. In his expert study of Jewis...

After Kubrick (1927-1999): a Cinematic Legacy

Jeremi Szaniawski
March 2019
Feature Articles
“We’re all children of Kubrick, aren’t we? Is there anything you can do that he hasn’t done?” Paul Thomas Anderson Stanley Kubrick (1927-1999) passed away twenty years ago – on March 7, 1999 – while in the pr...
Hélène Cattet and Bruno Forzani

The Strange Shape of Their Cinema’s Body

Jeremi Szaniawski
June 2018
Split/Screen Cattet/Forzani
Hélène Cattet and Bruno Forzani redefine the limits of cinematic grammar, and, further, of the cinematic body – a fascinating two-headed creature, with at its pulsating heart a manifest drive to pierce through ...
Interview with Ève Commenge

Interview with Ève Commenge

Jeremi Szaniawski
June 2018
Split/Screen Cattet/Forzani
Behind the success-story of filmmaking couple Hélène Cattet and Bruno Forzani is that of producer Ève Commenge. These three French expatriates have developed a very close and organic collaboration in Belgium to...

“The absolute and ultimate manifestation of the power of the mind over technology”: Gaspar Noé talks 2001: a Space Odyssey

Pip Chodorov and Jeremi Szaniawski
June 2018
Feature Articles
This interview was conducted in person by Pip Chodorov, with additional questions by Jeremi Szaniawski, at the Cannes Grand Hotel, 18 May 2018. It was edited and translated from French by Jeremi Szaniawski. • ...
Cargo

2007: Cargo 200 (Aleksei Balabanov)

Jeremi Szaniawski
December 2017
100 Years of Soviet Cinema
Balabanov’s Law: Cargo 200 (Aleksei Balabanov, 2007) Throughout his short but prolific career, Aleksei Balabanov (1959-2013) produced an oeuvre – most famously his low-budget cult hit Brat (Brother, 1997) – th...

1997: Mother and Son (Aleksandr Sokurov)

Jeremi Szaniawski
December 2017
100 Years of Soviet Cinema
Before Empire Come: Mother and Son (Aleksandr Sokurov, 1997) The story of a mother slowly dying while in the care of her son, Mat i syn (Mother and Son, 1997) was lauded worldwide at the time of its release – ...
Albert Serra Alexander Sokurov

“Whose death, whose power?”: Crystal images and the political unconscious in the films of Albert Serra and Alexander Sokurov

Jeremi Szaniawski
March 2017
Feature Articles
Albert Serra’s recent La Mort de Louis XIV (The Death of Louis XIV, 2016), starring Jean-Pierre Léaud as the ailing king, has been rightly hailed a masterpiece. Its central preoccupation with aging and/or dying...
The Family Jewels

The Family Jewels (1965)

Jeremi Szaniawski
July 2016
Deconstructing Jerry: Lewis as Director
As Gilles Deleuze put it: “If you are a prisoner of the dream of the other, you are damned,” or, closer to Deleuze’s words, “you are screwed.” And it is surely the feeling that pervades one of Jerry Lewis’s mos...

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