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    • “There is Nothing to Carry Sound”: Defamiliarisation and Reported Realism in Gravity

      Kenta McGrath
      July 2014
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    • 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
    • Values of Baz Luhrmann’s Elvis: A Carnival Ride

      Laleen Jayamanne
      January 2023
    • Fellini’s Memory: Amarcord

      Bruce Jackson
      January 2023
    • More than Mimicry: On Puppets and Interdependency in Annette and The Double Life of Véronique

      Indigo Bailey
      January 2023
    • After Structural Film: The Conceptual films of Morgan Fisher

      Arindam Sen
      January 2023
    • This Body Keeps the Score: the films of Saidin Salkic

      Dirk de Bruyn
      January 2023
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    • The Violence of Privacy: A Conversation with Kazuo Hara

      Kenta McGrath
      January 2021
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      Tara Judah
      January 2023
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      Maria Giovanna Vagenas
      January 2023
    • Flesh Memories: Yeo Siew Hua’s Expanded Cinema in The Once and Future

      Toby Wu
      January 2023
    • In Search of Lost Time: An Interview with Christophe Honoré

      David A. Gerstner
      January 2023
    • Slow Fireworks: The Films of Amy Halpern

      Arindam Sen
      January 2023
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      Hamed Sarrafi
      January 2023
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      Kenta McGrath
      May 2002
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      Sherry Johnson
      January 2023
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      Giampiero Frasca
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      Jeremy Carr
      October 2022
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      Hal Young
      October 2022
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      Sara Delshad
      October 2022
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      Sanya Osha
      May 2022
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      Kenta McGrath
      May 2022
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      Jacob Agius
      October 2022
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      Joy McEntee
      May 2022
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      Wheeler Winston Dixon
      May 2022
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      Jeremy Carr
      May 2022
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      Jessica Balanzategui
      January 2022
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      Kenta McGrath
      April 2020
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    • Fire Within: The 60th Viennale

      Leonardo Goi
      January 2023
    • The Kids Aren’t Alright: The 27th Busan International Film Festival

      Marc Raymond
      January 2023
    • A Report on the Exhibition Threshold (works by Dirk de Bruyn, Guy Grabowsky & Mat Hughes)

      Glenn D'Cruz
      January 2023
    • Politics, Isolation, Pandemic: The 35th Tokyo International Film Festival

      Kohei Usuda
      January 2023
    • All the Pain and Exploitation: 66th London Film Festival

      Tara Judah
      January 2023
    • BABY, THE RAIN MUST FALL … on the Claude Sautet retrospective at the 70th San Sebastian International Film Festival

      Neil Young
      January 2023
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      Revolving Worlds: Availing Postcolonial Renditions in East-West Encounters – Franco-Asian Cinema and Literature by Sylvie Blum-Reid

      Kenta McGrath
      October 2003
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    • 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
    • In search of a Global Filipino Auteur: Sine ni Lav Diaz, edited by Parichay Patra and Micheal Kho Lim

      Pujita Guha
      January 2023
    • Philosophy for the Blockbuster Audience: Christopher Nolan: Filmmaker and Philosopher, by Robbie B. H. Goh

      Tom Boniface-Webb
      October 2022
    • Do we need Digital Tarkovsky?

      Corey P. Cribb
      October 2022
    • Trafic at 30, End of a Film Journal

      Emmanuel Bonin
      July 2022
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      A Communications Primer and View from the People Wall

      Kenta McGrath
      October 2004
      CTEQ Annotations on Film
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    • Pickpocket (Robert Bresson, 1959)

      Emma Fajgenbaum
      March 2023
    • I Remember: Amarcord (Federico Fellini, 1973)

      Jacob Agius
      February 2023
    • The Lure (Agnieszka Smoczyńska, 2015)

      Faith Everard
      December 2022
    • Othering Heights: The Queerest of the Queer in Rosa von Praunheim’s City of Lost Souls (1983)

      Cerise Howard
      December 2022
    • To walk away, you gotta leave something behind, or a long story short: Hedwig and the Angry Inch (2001)

      Cerise Howard
      December 2022
    • Lost Paradise: F.W. Murnau’s Tabu: A Story of the South Seas (1931)

      Andréas Giannopoulos
      November 2022
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Author Kenta McGrath

Kenta McGrath

Kenta McGrath is a writer, translator and filmmaker. His recent work includes a chapter on war cannibalism and Japanese cinema in the forthcoming edited collection (In)digestion in Literature and Film: A Transcultural Approach (Routledge, April 2020), and an audio commentary for Hirokazu Koreeda’s Nobody Knows, part of a Blu-ray collection of the director’s work released by the British Film Institute (2019).

Lying About Homework (Abbas Kiarostami, 1989)

Kenta McGrath
July 2020
CTEQ Annotations on Film
“It’s a film about homework.” Or so Abbas Kiarostami tells a group of schoolboys who approach him on the street and ask what he’s filming. “Have you done your homework?” Kiarostami asks them, in turn. A resoun...

Pass it on: Mysterious Object at Noon (Apichatpong Weerasethakul, 2000)

Kenta McGrath
April 2020
CTEQ Annotations on Film
Mysterious Object at Noon. Even at a first glance, Thai artist and filmmaker Apichatpong Weerasethakul’s first feature has one of the most evocative titles in the history of cinema (the original title, Dogfahr ...

3/11 Cinema

Kenta McGrath
October 2019
This is what defined cinema in the 2010s
The multifaceted disaster which struck Japan’s northeastern Tōhoku region on 11 March 2011 – a magnitude-9 earthquake, which triggered a devastating tsunami then the worst nuclear crisis since Chernobyl – resul...
Stuff And Dough

Off the Road Again: Stuff and Dough (Cristi Puiu, 2001)

Kenta McGrath
September 2017
CTEQ Annotations on Film
It wasn’t until Cristi Puiu’s breakthrough second feature The Death of Mr. Lazarescu (Moartea domnului Lãzãrescu, 2005) and a remarkable string of successes by his young Romanian contemporaries that many paid a...
Nobody Knows

Nobody Knows (Hirokazu Koreeda, 2004)

Kenta McGrath
June 2017
CTEQ Annotations on Film
Hirokazu Koreeda’s Nobody Knows (Dare mo shiranai, 2004) is a fictionalisation of an infamous incident from 1988, whereby a mother left her four children – all born to different fathers and, with the possible e...

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