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    • Surface Play and Subterfuge: The Closed World of Masahiro Shinoda’s Cinema

      Nafis Shafizadeh
      December 2011
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    • Horse-People and White Voices: Neoliberalism and Race in Sorry to Bother You

      Thomas Austin
      May 2023
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      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
    • Values of Baz Luhrmann’s Elvis: A Carnival Ride

      Laleen Jayamanne
      January 2023
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      Bruce Jackson
      January 2023
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      Nafis Shafizadeh
      January 2021
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      Maria Giovanna Vagenas
      May 2023
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      Brigitta Wagner
      May 2023
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      Maja Korbecka
      May 2023
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      Purple Romero
      May 2023
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      Hamed Sarrafi
      May 2023
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      Silvia Spitta & Gerd Gemünden
      May 2023
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      Nafis Shafizadeh
      July 2004
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      Jeremy Carr
      May 2023
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      Benjamin Kooyman
      May 2023
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      Sherry Johnson
      January 2023
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      Giampiero Frasca
      January 2023
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      Jeremy Carr
      October 2022
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      Hal Young
      October 2022
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      Nafis Shafizadeh
      January 2022
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      Wheeler Winston Dixon
      May 2023
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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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      Mark Lager
      May 2022
  • Festival Reports
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      St. Kilda Film Festival and Short Filmmaking in Australia… the Director’s Point of View: Interviewed – Judy Schreiber

      Nafis Shafizadeh
      June 2000
      Festival Reports
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    • Generational Feminisms: the 45th Festival International de Films de Femmes

      Sian Mitchell
      May 2023
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      Carmen Gray
      May 2023
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      Will DiGravio
      May 2023
    • Punto de Vista 2023: Dust No Longer Clouds Our Eyes

      Jay Kuehner
      May 2023
    • All the world’s a stage IFFR Critics’ Choice 9: PLAY

      Tara Judah
      May 2023
    • Sweet Madness: the 2023 Berlinale

      Daniel Fairfax
      May 2023
  • Book Reviews
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      Soundscape: The School of Sound Lectures 1998-2001 edited by Larry Sider, Diane Freeman, and Jerry Sider

      Nafis Shafizadeh
      February 2004
      Book Reviews
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    • 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
    • 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
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    • The Pinochet Case

      Nafis Shafizadeh
      November 2012
      CTEQ Annotations on Film
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    • Days (Tsai Ming-liang, 2020)

      Jacob Agius
      May 2023
    • Afflictions of Pain and Desire: The River (Tsai Ming-liang, 1997)

      Alex Williams
      May 2023
    • The Wayward Cloud (Tsai Ming-liang, 2005)

      Amelia Leonard
      May 2023
    • Goodbye, Dragon Inn (Tsai Ming-liang, 2003)

      Andrew Le
      May 2023
    • The Skywalk is Gone (Tsai Ming-liang, 2002)

      Digby Houghton
      May 2023
    • What Time is it There? (Tsai Ming-liang, 2001)

      Jessica Balanzategui
      May 2023
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Author Nafis Shafizadeh

Nafis Shafizadeh

Nafis Shafizadeh lives and writes in Los Angeles. His work has appeared in The Los Angeles Review of Books,Film Quarterly,Cineaste, and elsewhere.

Reagan at the Movies: Make My Day: Movie Culture in the Age of Reagan, by J. Hoberman

Nafis Shafizadeh
July 2020
Book Reviews
My concern is with a general movement of reaction and conservative reassurance in the contemporary Hollywood cinema. — Andrew Britton in Blissing Out: The Politics of Reaganite Entertainment (1986) Certain ...

Puya and Jerry Lewis

Nafis Shafizadeh
June 2018
Stardust Memories: Cinephilia and Nostalgia
Puya navigated the Los Angeles traffic like a seasoned pro, without the help of an app. Its streets, traffic lights, accidents, stalled cars, make-or-break freeway decisions, whimsical lane choices; but no horn...
adcreep

The Toad and the Insect: On Mark Bartholomew’s Adcreep: The Case Against Modern Marketing

Nafis Shafizadeh
December 2017
Book Reviews
Several years ago, my wife and I spent a fall week in a remote cabin in the hills of Big Sur. We spent the time mostly enjoying the seclusion of the cabin and its immediate surroundings, spending languid aftern...
The Patsy

The Patsy (1964)

Nafis Shafizadeh
July 2016
Deconstructing Jerry: Lewis as Director
The Patsy and The Struggle of Jerry Lewis In 1995, the novelist and critic Gilbert Adair published his Flickers: An Illustrated Celebration of 100 Years of Cinema. The year, by most historical reckonings, mark...
L'atalante

The Mythographer and the Poet: On Marina Warner’s L’Atalante

Nafis Shafizadeh
March 2016
Book Reviews
Film criticism from literary writers is a tricky business. I am of course using literary as a discursive term rather than a hard and fast category; one indeed can make the argument that all film criticism shoul...
Dr. Strangelove book review

Then and Now: On Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb

Nafis Shafizadeh
June 2015
Book Reviews
Mr. President, I’m not saying we wouldn’t get our hair mussed. But I do say no more than ten to twenty million killed, tops. Uh, depending on the breaks. – General Buck Turgidson in Dr. Strangelove  Death h...

Towards a Single Cinephilia: On An Invention Without a Future: Essays on Cinema by James Naremore

Nafis Shafizadeh
September 2014
Book Reviews
I’m a sucker for a good epigraph. A good epigraph can put the reader in the right state of mind for what follows, creating in her consciousness what film critic Manny Farber referred to as “negative space” – th...

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