Values of Baz Luhrmann’s Elvis: A Carnival Ride Laleen Jayamanne January 2023 Feature Articles “It was the greatest Carnival Attraction I’d ever seen… His Super Power was Music.” - Colonel Tom Parker An Australian Film Brand With just six fi...
Fellini’s Memory: Amarcord Bruce Jackson January 2023 Feature Articles “I’m a liar, but an honest one. People reproach me for not always telling the same story in the same way. But this happens because I’ve invented the w...
More than Mimicry: On Puppets and Interdependency in Annette and The Double Life of Véronique Indigo Bailey January 2023 Feature Articles At all three screenings I attended of Leos Carax’s incandescent rock opera, Annette (2021), at my local theatre, the already sparse audience trickled ...
After Structural Film: The Conceptual films of Morgan Fisher Arindam Sen January 2023 Feature Articles Two programs of Morgan Fisher’s films, presented during the recently concluded 68th edition of the Oberhausen short film festival, occasioned the chan...
This Body Keeps the Score: the films of Saidin Salkic Dirk de Bruyn January 2023 Feature Articles The man simply begins to decipher the inscription. He purses his lips, as if he is listening. You’ve seen that it’s not easy to figure out the inscrip...
“A long time ago….”: The Persistence and Longevity of ‘Star Wars’ at 45 Tara Lomax October 2022 Feature Articles This article was peer reviewed This year Star Wars (George Lucas, 1977) commemorated its 45th anniversary. This anniversary recognises the passage of...
The Larrikin Girl: Challenging archetypes in Australian cinema Mark Freeman & Eloise Ross October 2022 Feature Articles This article has been peer reviewed Australian cinema has travelled a varied trajectory since its initial development in the late 19th century. The c...
Unrealisable woman: Tania in Stanley Kubrick’s Aryan Papers Joy McEntee October 2022 Feature Articles This article was peer reviewed. Introduction Stanley Kubrick oscillated between torturing his female characters and exhibiting sympathy for them. So...
Anatomy of a Breakup or Her Life to Fix: The Worst Person in the World Salvador Carrasco October 2022 Feature Articles Among the thousands of books that have been written trying to elucidate Hitler, there is a remarkable one by Ron Rosenbaum, Explaining Hitler: The Sea...
Respecting the Lives of Others: Bergman Island, Hommage and Anaïs in Love Anthony McKibbin August 2022 Feature Articles “There aren’t many films about female creativity”, Mia Hansen-Løve says, “and even fewer that consider the art and craft of cinema from a woman’s poin...
More than a Wink: The Nature of Reality in Blow-Up and Las Babas del Diablo Will Hair July 2022 Feature Articles Michelangelo Antonioni’s Blow-Up (1966) contains obvious differences from its source material, Julio Cortázar’s short story Las Babas del Diablo (1959...
Protestploitation ’70: Revisiting Zabriskie Point and Strawberry Statement Selen Ozturk July 2022 Feature Articles The revolution may not have been televised, but it was certainly filmed. In 1970, youth rallied in droves and studios rolled out the little red carpet...
Suicide and Genius: Insights into One Episode of Akira Kurosawa’s Dreams Matthew Michaud & Justin Richardson July 2022 Feature Articles In 1990, Akira Kurosawa, one of Japan’s greatest directors, released his antepenultimate film Yume (Dreams). At the age of 80, this was to be the most...
Interrogating Identity: The Fractal Self in Le petit soldat Michael James Beck July 2022 Feature Articles Jean-Luc Godard’s Le petit soldat (The Little Soldier, 1963) would have been his second feature film release following his career-defining À bout de s...
Bigger than life, or stranger: Pedro Costa’s Vitalina Varela: Part III Thomas Austin July 2022 Feature Articles Vitalina Varela (2019) is the seventh feature film by the Portuguese director Pedro Costa. It tells the true story of a woman from Cape Verde who trav...
Bigger than life, or stranger: Pedro Costa’s Vitalina Varela: Part II Thomas Austin May 2022 Feature Articles Vitalina Varela (2019) is the seventh feature film by the Portuguese director Pedro Costa. It tells the true story of a woman from Cape Verde who trav...
Fire Machines: Titane and the Pyrotechnics of Love Emmalea Russo May 2022 Feature Articles “…it shall be revealed by fire.” - Corinthians 3:13 “If our aim is to explore the farthest potentialities of being, we may well opt for the disorder...
Cringing Violently: Reparative Watching, Phenomenology and Discomfort in Australian Cinema Caitlin Wilson May 2022 Feature Articles The seminal Australian film Wake in Fright (Ted Kotcheff, 1971) opens with a sweeping, circular pan around a desert landscape. It begins in silence, b...
Deleuzian Rumblings: Residue by Desire Machine Collective Vedant Srinivas May 2022 Feature Articles Desire Machine Collective (DMC) is a collaboration between artists Mriganka Madhukaillya and Sonal Jain, based in Assam (India). Inspired by the writi...
Acts of Faith: On Benedetta (Paul Verhoeven, 2021) Peter Verstraten May 2022 Feature Articles Several reviewers have described Benedetta (Paul Verhoeven, 2021) as a lesbian nunsploitation drama. Reports about the film, which had its world premi...
‘Is The Power of the Dog a New Zealand film? National Identity, Genre and Jane Campion’ Alfio Leotta & Missy Molloy May 2022 Feature Articles The Power of the Dog premiered at the Venice Film Festival on September 2, 2021. In a short time, however, much has already been written about writer-...
Traumatising the floating space of desire: how hotel spaces locate the painful passion of dislocated lives Nashuyuan Wang May 2022 Feature Articles The hotel space is one of the most uncanny products of the modern world. On the one hand, it accommodates leave and stay, transit and temporary spatia...
The Experimental Propagandist: Frank Capra and the Shape of Truth Richard Sowada January 2022 Feature Articles At first pass, placing Frank Capra into the position of a major figure in the experimental and avant-garde continuum may seem counter intuitive in the...
Heil Darling: a story of lips that haven’t laughed Pablo Gonçalo January 2022 Feature Articles Billy Wilder in the ‘30s In 1938, Billy Wilder was 32 years old and had been in America for five years. Born to a family of Polish Jews in the Austro...
The Night Shift: Woman as Outlaw Hero in The Man I Love Rob Nixon January 2022 Feature Articles How do you approach a Classic Hollywood character like Petey Brown? She solves everyone’s problems, slaps men around and disarms them – physically and...
Smooth Digital Reveries: On Proto-Vaporwave and The Flying Luna Clipper Dechlan Cochran January 2022 Feature Articles There are countless films that peddle in the reification of dreams, and countless filmmakers for whom that is their primary mode. From David Lynch’s p...
Promising Young Woman and the cinematic renegotiation of gender in rape-revenge Joy McEntee January 2022 Feature Articles This article was peer reviewed. Introduction How do we keep the past alive without becoming its prisoner? How do we forget it without risking its r...
Streaming paracinema: Charles Band, Full Moon Features and auteurism on third tier SVOD services Andrew Lynch and Alexa Scarlata January 2022 Feature Articles This article was peer reviewed. Introduction On the periphery of the loud and attention-hoarding “streaming wars” playing out between the likes of ...
The Cry: Cinema, Sentiment, Minnelli Murray Pomerance January 2022 Feature Articles The European Magazine for January, 1783, describes as fashionable: Elliott’s Red-Hot Bullets and The Smoke of the Camp of St. Roche. It is manifestly ...
Loss and Absence in Still Life Yiju Huang January 2022 Feature Articles I am most desperate when the shooting is going well. I don’t get anxious when the shooting is not going well, because…it is precisely when I know I am...
Jacob Holdt’s American Pictures: A Note on Style in Poor Cinema J. Ronald Green January 2022 Feature Articles Who says that fictions only and false hair Become a verse? Is there in truth no beauty? - George Herbert, Jordan (I), c. 1633 In connection wit...
Looking for Truth: Elia Kazan’s East of Eden and post-Korean War America Mary Hamer January 2022 Feature Articles The talk at the supermarket checkout was all of Sam Mendes’ film 1917 (2019). It had picked up three Oscars, just the night before. “Why it did, I...
The Journey: Peter Watkins’s Polyphonic Plea for Humanity Jacob Hovind January 2022 Feature Articles Famed in increasingly small cinephiliac circles as one of the great firebrands of film history, Peter Watkins’s singular reputation rests on his unaba...
No Exit: Monte Hellman’s The Shooting Anand Sudha January 2022 Feature Articles From one angle, as Phillip Strick’s Sight and Sound review pointed out, The Shooting (Monte Hellman,1966) can be viewed as a classic revenge Western w...
After the Storm: National Cinema in Myanmar Krathyn White January 2022 Feature Articles Prior to the military coup in Myanmar on 1 February 2021, a new wave of fiercely independent productions emerged to challenge the political and social...
The Hired Hand: Peter Fonda’s Mystical, Poetic Western 50 Years Later Mark Lager January 2022 Feature Articles As Bruce Langhorne (who composed the music for Peter Fonda’s directorial debut The Hired Hand) said, “Nobody at Universal knew what to do with it. The...
