Uta onna oboegaki (Notes of an Itinerant Performer, Hiroshi Shimizu, 1941) Andrew Brooks April 2021 CTEQ Annotations on Film The mood of Hiroshi Shimizu’s Uta onna oboegaki (Notes of an Itinerant Performer, 1941) is marked by an image that is unremarkable in its brevity earl...
I Kiss Your Hand, Madame (Robert Land, 1929) Eloise Ross April 2021 CTEQ Annotations on Film This lightly sophisticated comedy, indulging in its opportunities at the tail-end of two eras – those of silent cinema, and the Weimar Republic’s Gold...
Shimizu Redivivus: Nakinureta haru no onna yo (A Woman Crying in Spring, Hiroshi Shimizu, 1933) Joseph Sgammato April 2021 CTEQ Annotations on Film Among the many differences the widely acknowledged dean of Japanese film scholars in the Anglophone world, Donald Richie, likes to point out between W...
Pit Stop: Billy Wilder’s Mauvaise graine (1934) Adrian Danks April 2021 CTEQ Annotations on Film The low budget, independently-produced Mauvaise graine (1934) is an outlier in Billy Wilder’s career. Although it characteristically illustrates the v...
“This is You, You Bastards”: Ace in the Hole (1951) Deborah Allison April 2021 CTEQ Annotations on Film “Can you take it?” the Paramount publicity ads asked prospective audiences. “Can you stand pulse-pounding suspense? Can you take raw, tense drama? Can...
The Major and The Minor (Billy Wilder, 1942) Karli Lukas April 2021 CTEQ Annotations on Film An earlier version of this article first appeared in CTEQ: Annotations on Film published in Metro no. 109 (1997): 53-54. After watching several of ...
“She smelled of Tokyo”: Sensory connections in The Masseurs and a Woman (1938) Danica van de Velde April 2021 CTEQ Annotations on Film A prolific filmmaker who reportedly directed over 150 films between 1924 and 1959, Hiroshi Shimizu has arguably received only a fraction of the critic...
Fourteen’s Good, Eighteen’s Better (Gillian Armstrong, 1980) Ben Kooyman April 2021 CTEQ Annotations on Film Since the success of My Brilliant Career (1979), Gillian Armstrong has become somewhat synonymous with period cinema, an association borne out by her ...
Tôkyô no eiyû (A Hero of Tokyo, Hiroshi Shimizu, 1935) Hayley Scanlon April 2021 CTEQ Annotations on Film A contemporary of golden age directors such as Yasujirō Ozu and Kenji Mizoguchi, Hiroshi Shimizu has been intermittently neglected in international ci...
Unfolding Florence – The Many Lives of Florence Broadhurst (Gillian Armstrong, 2006) Jytte Holmqvist April 2021 CTEQ Annotations on Film Rich, fascinating, stylish and lush in colour, Gillian Armstrong’s 2006 documentary Unfolding Florence – The Many Lives of Florence Broadhurst (nomina...
Grandeur and Decadence: Luchino Visconti’s The Damned (1969) Wheeler Winston Dixon April 2021 CTEQ Annotations on Film Luchino Visconti’s La caduta degli dei (The Damned, 1969) is such an outrageously excessive and daring film that one wonders, in retrospect, how Visc...
Gillian Armstrong’s High Tide – A reworking of the Maternal Melodrama Gwendolyn Audrey Foster April 2021 CTEQ Annotations on Film Gillian Armstrong’s High Tide (1987) can be seen as a variant on the maternal melodrama. It centres around the struggles of a teenaged young mother wh...
