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    • The 21st century plague: Cinema in the age of COVID-19

      Richard Martin
      April 2020
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    • Film Criticism and the Grotesque: A Very American Tár & an Oz Elvis

      Laleen Jayamanne
      August 2023
    • The aesthetics and politics of melodrama, reconsidered: Delitto d’amore / Crime of Love

      Thomas Austin
      August 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
    • Horse-People and White Voices: Neoliberalism and Race in Sorry to Bother You

      Thomas Austin
      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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    • Here: An Interview with Bas Devos

      Richard Martin
      May 2023
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    • “Can You Prefigure Reality?”: A Conversation with Christoph Hochhäusler on his new film, Bis ans Ende der Nacht (Till the End of the Night)

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

      Maria Giovanna Vagenas
      August 2023
    • Chunky Shrapnel: A Conversation with John Angus Stewart

      C.S. Harper
      August 2023
    • A Cinematic Sojourn to the Land of Awe and Astonishment: Interview with Laura Citarella about El Pampero Cine and Trenque Lauquen

      Hamed Sarrafi
      August 2023
    • A Different Kind of Love Story: An Interview with Dustin Guy Defa

      Brigitta Wagner
      May 2023
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      Maja Korbecka
      May 2023
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      Richard Martin
      July 2016
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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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      Richard Martin
      August 2023
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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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      Jeremy Carr
      May 2022
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      Mark Lager
      May 2022
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      Neighbourhood Realisms and the Return of Utopia: a Dive into the Effervescence of Contemporary Brazilian Cinema

      Richard Martin
      June 2015
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      Marc Raymond
      August 2023
    • Direct Cinephilia: Play-Doc 2023

      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
  • Book Reviews
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    • Third Time’s the Charm: Film Trilogies: New Critical Approaches by Claire Perkins and Constantine Verevis

      Richard Martin
      June 2013
      Book Reviews
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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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      Age of Consent

      Richard Martin
      July 2005
      CTEQ Annotations on Film
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    • Czechoslovakia’s King and Queen of Comedy: Anny Ondra and Vlasta Burian in An Old Gangster’s Molls (Svatopluk Innermann, 1927)

      Shari Kizirian
      September 2023
    • It’s About Time We All Met a Happy End (Oldřich Lipský, 1967)

      Cerise Howard
      September 2023
    • 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, 1919)

      Darragh O’Donoghue
      September 2023
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Author Richard Martin

Richard Martin

Richard Martin is the author of The Architecture of David Lynch (Bloomsbury, 2014). He currently teaches at King’s College London and Tate Modern, and writes for the Tate Research Department. http://www.richardgmartin.org

Be Young, Be Dope, Be Proud: The 58th BFI London Film Festival

Richard Martin
December 2014
Festival Reports
Debut films are often about youth, and about living on the edge. From The 400 Blows to Breathless, from Badlands to Kids, first features repeatedly channel the freedoms and frustrations of being young, via an a...
Sweet Smell of Success (Alexander Mackendrick, 1957)

More Rapture! The Big Screen: The Story of the Movies and What They Did To Us by David Thomson

Richard Martin
September 2013
Book Reviews
When I was halfway through reading David Thomson’s new book, I saw Vincente Minnelli’s musical The Band Wagon (1953) in Potsdamer Platz, Berlin. It felt like a perfect David Thomson moment. The Band Wagon immer...

The Uses of Guilt: The Cinema of Michael Haneke: Europe Utopia edited by Ben McCann and David Sorfa

Richard Martin
November 2012
Book Reviews
There’s a scene in Michael Haneke’s Code Unknown (2000) that epitomises both the brilliance and the frustrations that mark his entire body of work. It takes place on the Parisian Métro, where a woman named Anne...

Designs for Life: David Lynch by Justus Nieland

Richard Martin
September 2012
Book Reviews
If Inland Empire, released in 2006, has proved one of the strangest films of the last decade, David Lynch’s activities since then have only increased the mystery surrounding its director. In recent years, Lynch...

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