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    • In Dreams and Imagination: Surrealist Values in Mulholland Dr. and Inland Empire

      John Edmond
      March 2013
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      Laleen Jayamanne
      August 2023
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      Thomas Austin
      August 2023
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      Thomas Austin
      May 2023
    • The Exorcism of Sinister Ghosts: Saralisa Volm’s The Silent Forest

      Peter Verstraten
      May 2023
    • Spectatorial Labour: The Political Vision of Sergei Loznitsa’s Documentaries

      Santasil Mallik
      May 2023
    • When Knowledge Takes Over Action: A Narrative Analysis of Three Georgian Conflict-Sensitive Films: The Other Bank, Tangerines, and Corn Island

      Khatuna Maisashvili
      January 2023
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      John Edmond
      January 2023
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      Marco Abel
      August 2023
    • The Klezmer Project (Adentro Mío Estoy Bailanado): A Conversation with Leandro Koch and Paloma Schachmann

      Maria Giovanna Vagenas
      August 2023
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      C.S. Harper
      August 2023
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      Hamed Sarrafi
      August 2023
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      Maria Giovanna Vagenas
      May 2023
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      Brigitta Wagner
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      John Edmond
      July 2006
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      Sherry Johnson
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      Giampiero Frasca
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      October 2022
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      Of Markets and Men: AFI Los Angeles International Film Festival and American Film Market (AFM)

      John Edmond
      May 2006
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    • Towards A Domestic Cinephilia: The 24th Jeonju International Film Festival

      Marc Raymond
      August 2023
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      Fedor Tot
      August 2023
    • Stardust chronicle, a report from the 69th Internationale Kurzfilmtage Oberhausen

      Arindam Sen
      August 2023
    • Rising from the ashes: The 47th Hong Kong International Film Festival

      Maja Korbecka
      August 2023
    • The 22nd Transilvania International Film Festival: Open-world Stimulations

      Peter Virginas
      August 2023
    • Searching for Eros: the 76th Cannes Film Festival

      Savina Petkova
      August 2023
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      Places in the Heart: Where Does It Happen? John Cassavetes and Cinema at the Breaking Point by George Kouvaros

      John Edmond
      October 2004
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    • The Rebellious and the Rigorous: The Red Years of Cahiers du cinéma (1968-1973), by Daniel Fairfax

      Tony McKibbin
      August 2023
    • A Journey through Serge Daney’s Cinema House

      Emmanuel Bonin
      August 2023
    • Bloody, Raging Females: Five Books Examine Contemporary Feminist Horror Films

      Holly Willis
      May 2023
    • Cinematic Bottom-Feeding: Why It’s OK to Love Bad Movies, by Matthew Strohl

      Sam Woolfe
      May 2023
    • For a Double-Edged Theory: Christian Metz’ Essais sur la signification au cinéma at 50

      Abel Muñoz Hénonin
      January 2023
    • Dennis Lim’s Tale of Cinema: A Meta-Monograph

      Marc Raymond
      January 2023
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    • Out of the Shadows: Cloak and Dagger (Fritz Lang, 1946)

      John Edmond
      May 2022
      CTEQ Annotations on Film
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    • Heave Ho! (Martin Frič, 1934)

      Faith Everard
      September 2023
    • Tomorrow I’ll Wake Up and Scald Myself with Tea (Jindřich Polák, 1977)

      Danica van de Velde
      September 2023
    • The Woman Suffers: “South Australia’s greatest film production” (Raymond Longford, 1918)

      Stephen Gaunson
      September 2023
    • The Sentimental Bloke (Raymond Longford, 1918)

      Darragh O’Donoghue
      September 2023
    • The Fading Kouros of Razzia sur la chnouf (Henri Decoin, 1955)

      Grant Bromley
      September 2023
    • Scenes from a Manhunt – Panique (Julien Duvivier, 1946)

      Rolland Man
      August 2023
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Author John Edmond

John Edmond

John Edmond works around film. A researcher and programmer, he currently runs Container, a film and moving image screening series.

An Interview with Scriptwriter Geoff Cox

John Edmond
August 2022
The Natural Models of Lucile Hadžihalilović
Interview conducted via email from July-August 2022. How did you come to work with Lucile Hadžihalilović. It's clear how Lucile and yourself would find each other sympathetic collaborators, but how did you o...

Introduction: The Analogues of Peter Strickland

Alexandra Heller-Nicholas and John Edmond
July 2019
The Analogues of Peter Strickland
One way of thinking about Peter Strickland’s works is as baubles of obsession. They are little spheres of influence, spheres of logic that marry fecund dialogue and audiovisual atmosphere with field recordings ...

Interview: The Work of Peter Strickland

John Edmond
July 2019
The Analogues of Peter Strickland
This wide-ranging conversation with Peter Strickland is centred around work, as theme of his films, and his theory and practice of it as filmmaker. The interview was conducted over Skype in June 2019, and then ...

The Tender Force of Valérie Massadian

Maura Edmond and John Edmond
March 2019
Valérie Massadian and the Aesthetics of Care
This project began in Melbourne’s Princes Park. Margot, Maura’s daughter, was ambling about in the sunshine while we discussed Milla, and its recent debut at Locarno 2017. Margot was then only a little younger ...

Interview with Valérie Massadian: More Feeding, Less Screaming

John Edmond and Maura Edmond
March 2019
Valérie Massadian and the Aesthetics of Care
Valérie Massadian’s charismatic and raw interviews match her work. In this conversation she discusses her background, her approach to reality, and how both inform her filmmaking practice. The interview was c...
Split/Screen Cattet/Forzani

Split/Screen
Cattet/Forzani

John Edmond and Alexandra Heller-Nicholas
June 2018
Split/Screen Cattet/Forzani
This dossier coincides with retrospectives of the work of Hélène Cattet and Bruno Forzani at the Melbourne International Film Festival and the Queensland Film Festival in July and August, 2018. This dossier is ...
The Driver

Bitumen Music: Walter Hill’s The Driver (1978)

John Edmond
March 2017
CTEQ Annotations on Film
A long shot is of the human body in full view, a medium from torso up, a close-up the face or equivalent part. Humanly derived, these delineations buckle when applied elsewhere. A car in side profile is in long...
Cinema’s Baroque Flesh book review

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

John Edmond
March 2017
Book Reviews
The merits of Saige Walton’s Cinema’s Baroque Flesh: Film, Phenomenology and the Art of Entanglement lie in the parallels between baroque thinking and phenomenology. Here the baroque is a transhistorical patter...
Marketa Lazarová

The Vanguard of Marketa Lazarová

John Edmond
September 2016
CTEQ Annotations on Film
Vladislav Vančura cleared the path for Marketa Lazarová (Frantisek Vlácil, 1967). Modernist, playwright, filmmaker, resistance figure, and author of the original novel (1931); Vančura was murdered by the Nazis ...
La Marge

The Desired Objects of La Marge (1976)

John Edmond
May 2016
CTEQ Annotations on Film
There are two elements of Walerian Borowczyk’s work more broadly that are useful in thinking about La Marge (1976). The first of these relates to Borowczyk’s interest in the particular presence of objects: they...
The Leopard

The Contiguous World of Luchino Visconti’s The Leopard (1963)

John Edmond
February 2016
CTEQ Annotations on Film
In the middle of The Leopard (Il Gattopardo 1963) there is a hunting trip. The ring of Sicilian cicadas. A rabbit is killed. A conversation takes place. Don Fabrizio (The Leopard himself The Prince of Salina, B...
The Confrontation film review

Miklós Jancsó’s The Confrontation (1969)

John Edmond
September 2015
CTEQ Annotations on Film
Miklós Jancsó’s The Confrontation (Fényes szelek, 1969) opens with a four-minute shot. We see the back of Judit’s head as she (Andrea Drahota, red headed) watches a convoy of police arrive. At a signal, her f...

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