Welcome to issue 83 of our journal the editors June 2017 Editorial Welcome to issue 83 of Senses of Cinema, where we feature two exciting dossiers. The first focuses on the present state of cinema studies. “Contemporary Cinema Studies: A Discipline with a Future?” includes int...
Blow Guns: Escapist Erotics in Spring Breakers (Harmony Korine, 2012) Lilia Kilburn June 2017 Feature Articles In 2016, armed libertarians, disgruntled by the U.S. public government’s management of federal lands, began an occupation of Oregon’s Malheur National...
In the Cells of Fortress Europe: An Interview with Marianna Economou, director of The Longest Run Thomas Austin June 2017 Feature Articles Marianna Economou’s observational documentary The Longest Run (2015) tells the story of two teenage refugees, Kurds from Syria and Iraq, who meet in a...
Shame and Revenge in Elle’s Paris and The Salesman’s Tehran Kaveh Bassiri June 2017 Feature Articles The 2016 Cannes Film Festival closed with screenings of Asghar Farhadi’s Forushande (The Salesman, 2016) and Paul Verhoeven’s Elle (2016), which were ...
The Explorer: An Interview with Teddy Williams Iván Zgaib June 2017 Feature Articles Eduardo Teddy Williams’ figure was reflected in the shining tiles of the hotel. It was a grey November day and the smell of the rough sea flooded the ...
I Learned to Depend on Me: On Whitney Houston and Toni Erdmann (Maren Ade, 2016) Ivan Kreilkamp June 2017 Feature Articles The 1985 video for Whitney Houston’s version of “Greatest Love of All” is now – after Houston’s years of alleged abuse in her marriage with Bobby Brow...
The Empathy Engine: VR Documentary and Deep Connection Si Mitchell June 2017 Feature Articles “It is a factory of mental illness,” says the voice of a young man weary beyond his years. We turn and scan the hard-white walls. We are in a cell at ...
Fortunate Sinners: Martin Koolhoven’s Brimstone as an ‘Edam’ Western Peter Verstraten June 2017 Feature Articles Between 1999 and 2008, the Dutch director Martin Koolhoven made eight feature films, none like any of the others. In 2005 he shot the multicultural ro...
Gone to Earth: The Pagan Pastoral in Powell and Pressburger Samm Deighan May 2017 Feature Articles The host is riding from Knocknarea And over the grave of Clooth-na-bare; Caolte tossing his burning hair And Niamh calling Away, come away: Empty ...
Cruel Weapons: On the Music Video Collaborations of Bob Dylan and Nash Edgerton Sam Twyford-Moore May 2017 Feature Articles Nash Edgerton, the older brother of Australian film star Joel Edgerton, is primarily known in his country of birth, perhaps, for his early and cheeky ...
Ride Lonesome: The Career of Budd Boetticher Sean Axmaker February 2006 Feature Articles, Revisiting Budd Boetticher A biographical and critical overview of this greatly admired filmmaker and seminal stylist of the Hollywood B-movie tradition.
What is the Cinema?: The 2017 Cannes Film Festival Daniel Fairfax June 2017 Festival Reports Cannes, as we all know, is essentially a scandal-making machine. More than any other film festival, Cannes has had controversy baked into its DNA from...
No Service, Keep Moving: The 63rd International Short Film Festival Oberhausen Tara Judah June 2017 Festival Reports The programme at the Short Film Festival is difficult, to be sure, but it always has been. Even the Short Film Festival’s first programme in 1954 alre...
Pan African Film Festival 2017 Bérénice Reynaud June 2017 Festival Reports Pan African Dreams: the Dreams that Dance Attending PAFF is to open oneself to a world of images, colours, sounds – even the suggestion of smells – f...
Ars Moriendi, or How To Film a Sculpture: The 11th Punto de Vista Festival Jay Kuehner June 2017 Festival Reports In the tiny village of Alzuza – once Navarran countryside, now a mere suburb of Pamplona – the museum of Basque intellectual and sculptor Jorge Oteiza...
IndieLisboa: Invisible Cities Carmen Gray June 2017 Festival Reports Joseph Roth wrote in 1933 that rising nationalism had temporarily defeated Jewish writers in Germany, but not before they’d given its literature somet...
Notes on DOCUMENTAMADRID, the 14th Madrid International Documentary Film Festival Libertad Gills June 2017 Festival Reports The 14th Madrid International Documentary Film Festival was held in Matadero, a former slaughterhouse and livestock market built between 1908 and 1928...
Reckoning with the Past: The 18th Jeonju International Film Festival Marc Raymond June 2017 Festival Reports The year 2016 in Korean cinema was especially strong if turbulent, with many major films by established auteurs, impressive debuts and second features...
CPH:DOX 2017 Matt Turner June 2017 Festival Reports Though only in its 14th year, Danish documentary festival CPH:DOX’s profile has continually grown, so much so that the festival now proudly calls itse...
High Anxiety: The 41st Hong Kong International Film Festival Nicholas Godfrey June 2017 Festival Reports The 41st Hong Kong International Film Festival (HKIFF) was launched amidst political turmoil and much soul searching about the state of the local film...
Clermont-Ferrand 2017 Yaron Dahan June 2017 Festival Reports Dekalb Elementary (d. Reed Van Dyk), a huis-clos which deftly manoeuvres the politics of race and class in America, was the winner of this year’s Gran...
In Search of an Eastern European Identity – Vilnius Film Festival review Vladas Rozenas June 2017 Festival Reports My girlfriend and I have this horrible joke that we tell each other after getting depressed by the very limited range of possibilities for cultural wo...
Full Frame Film Festival Annie Berke June 2017 Festival Reports My first time at Durham, North Carolina’s Full Frame Film Festival, a program dedicated to documentary media, I got lucky. “Ms. Berke, you are a lucky...
Tarr, Béla Jeremy Carr June 2017 Great Directors 21 July, 1955, Pécs, Hungary Béla Tarr insists that his films do not fall into distinctive periods, preferring to identify something akin to a steady...
Miller, George James Robert Douglas June 2017 Great Directors In a 1979 interview, just prior to the release of his debut feature Mad Max, George Miller gave an encapsulated account of his understanding of film s...
Karlson, Phil Wheeler Winston Dixon June 2017 Great Directors The Forgotten Master of Film Noir Born: 2 July 1908 Died: 12 December 1985 Director Phil Karlson’s best films - Tight Spot (1955), Five Against the...
From Reverence to Spielberg: Steven Spielberg: A Life in Films by Molly Haskell Adrian Schober June 2017 Book Reviews “The fact that I consider myself a film critic first and a feminist second means that I feel an obligation to the wholeness and complexity of film his...
Western/Non-Western Approaches: Refocus: The Films of Budd Boetticher by Gary D. Rhodes and Robert Singer (eds.) Dean Brandum June 2017 Book Reviews In 1969 Jim Kitses’ Horizons West: Anthony Mann, Budd Boetticher, Sam Peckinpah: Studies in Authorship within the Western was published. The three fi...
Actively Retroactive: On the Couch with Film Noir: Out of the Past: Lacan and Film Noir by Ben Tyrer Shannon Scott June 2017 Book Reviews Ben Tyrer’s Out of the Past: Lacan and Film Noir forms a “Borromean Knot” of Lacanian film theory, Freudian psychoanalysis, and film noir, which makes...
Cinema against Cinema: Daech, le cinéma et la mort by Jean-Louis Comolli Daniel Fairfax June 2017 Book Reviews Outside of France, Jean-Louis Comolli is principally known in the film studies world for his stint as the editor of Cahiers du cinéma in the years 196...
The Critic as Creator: Better Living through Criticism, by A.O. Scott Joshua Sperling June 2017 Book Reviews A.O. Scott is one of the few film critics working today whose fuller personality comes through in their prose. From his weekly reviews for the New Yor...
A Woman Asks Why: Maborosi (Hirokazu Koreeda, 1995) Joseph Sgammato June 2017 CTEQ Annotations on Film Maborosi (1995) launched the feature film career of Japanese director Hirokazu Koreeda, until then a maker of television documentaries only. Unlike ma...
I Wish (Hirokazu Koreeda, 2011) MaoHui Deng June 2017 CTEQ Annotations on Film Children have always played an important role in the Japanese director Hirokazu Koreeda’s films. His career started off with the documentary Lessons f...
How Film Remembers: After Life (Hirokazu Koreeda, 1998) Kristi McKim June 2017 CTEQ Annotations on Film What comprises our favorite memories, and how do we understand our lives in relation? What do we do with these memories, and how do they shape us? Rev...
Still Walking (Hirokazu Koreeda, 2008): Continuity in (E)motion Tara Judah June 2017 CTEQ Annotations on Film The English language translation of Aruitemo Aruitemo (Still Walking, Hirokazu Koreeda, 2008) as “Still Walking” offers a subtle and incisive duality ...
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 child...
Cultivating Self in the Other in Hirokazu Kore-eda’s Without Memory (1996) Nathan Senn June 2017 CTEQ Annotations on Film The nature of memory is a recurrent theme in the cinema of Hirokazu Kore-eda. Often, it functions as a device to cultivate perspective or structure, a...
Jerking Off the Universe: (Isabelle Huppert and) Paul Verhoeven’s Elle (2016) Annabel Brady-Brown June 2017 CTEQ Annotations on Film Over a five-decade career, Paul Verhoeven has received the Razzie for Worst Film of the Decade (Showgirls, 1995) as well as the Golden Calf for Best D...
Starship Troopers and Plato’s Republic: The Pop Philosophy of Paul Verhoeven Dan Shaw June 2017 CTEQ Annotations on Film It is a mark of my perspective as a philosopher that what struck me initially about Starship Troopers (Paul Verhoeven, 1997) were its similarities to ...
Zwartboek (Black Book, Paul Verhoeven, 2006) Martyn Bamber June 2017 CTEQ Annotations on Film Zwartboek (Black Book) is a Holland homecoming for director Paul Verhoeven, returning to the Netherlands from the United States after the technically ...
Cinema as Sex on Cocaine: Basic Instinct (Paul Verhoeven, 1992) Alexandra Heller-Nicholas June 2017 CTEQ Annotations on Film “No film has ever succeeded in making sex look at once so alluring and so glum. From its opening sequence, the film is a castration fantasy that condu...
Fascism for Liberals: RoboCop (Paul Verhoeven, 1987) Christian McCrea June 2017 CTEQ Annotations on Film When Orion Pictures first sent out promotional material for RoboCop, they would indulge every possible comparison to Terminator (James Cameron, 1984),...
Hauer’d to be a God: Flesh + Blood (Paul Verhoeven, 1985) Luke Goodsell June 2017 CTEQ Annotations on Film Against a verdant, sun-kissed field, a young betrothed couple – the handsome, callow hero and his flaxen-haired princess bride – swoon and banter. “F...
The Ash Heap of Meaning: Juraj Herz’s The Junk Shop (1965) David Heslin June 2017 CTEQ Annotations on Film “Pals, I don’t like it in football when it’s 6-0 or 5-1. That’s no drama. What I like is when the result’s 6-5 or 4-4 – in short, when the better team...
Of Beastly Beauties and Beauteous Beasts: Juraj Herz and the Fairy Tale David Melville June 2017 CTEQ Annotations on Film “When you dream about my likeness, you create it. The more ardently you dream, the sooner you will see me. And I will resemble your dream.” - The B...
A Tail and Two Sisters: Morgiana (Juraj Herz, 1972) Rhiannon Dalglish June 2017 CTEQ Annotations on Film In 1975, cult horror icon Karen Black played two sisters, Millicent and Therese, in a chapter of Dan Curtis’s horror film anthology, Trilogy of Terror...
Die Austernprinzessin (The Oyster Princess, Ernst Lubitsch, 1919) Michael Ewins June 2017 CTEQ Annotations on Film Ernst Lubitsch had a nose for class, an ear for wealth, and an eye for sex – so why do we only ever talk about his touch? More than any other in Holly...
Nuanced Complexity: The Marriage Circle (Ernst Lubitsch, 1924) and the Early Days of the ‘Lubitsch Touch’ Isabella McNeill June 2017 CTEQ Annotations on Film Known for his skilful adaptations of pre-existing novellas and plays (Trouble in Paradise (1932), Ninotchka (1933), The Shop Around the Corner (1940))...
Decision at Sundown Robert J. Read July 2005 CTEQ Annotations on Film, Revisiting Budd Boetticher Decision at Sundown (1957 USA 77 mins) Source: Sony Classics Prod Co: Ranown Prod: Harry Joe Brown Dir: Budd Boetticher Scr: Charles Lang Jr., ...
Crossing Over, or “It’s a Long Way to Lordsburg”: Comanche Station Adrian Danks October 2004 CTEQ Annotations on Film, Revisiting Budd Boetticher Comanche Station (1960 USA 73 mins) Source: Sony Picture Classics Prod Co: Ranown Prod, Dir: Budd Boetticher Scr: Burt Kennedy Phot: Charles Lawton...
Behind Locked Doors Riccardo De Los Rios October 2004 CTEQ Annotations on Film, Revisiting Budd Boetticher Behind Locked Doors (1948 USA 62 mins) Source: PC Prod Co: Aro Productions/Eagle-Lion Films Prod: Eugene Ling Dir: Budd Boetticher Scr: Eugene ...
Pioneering Australian Women Filmmakers: Introduction Eloise Ross July 2017 Pioneering Australian Women “I just close my eyes and a sing, and I feel like I’m above the crowd.” - Jo Kennedy as Jackie Mullens, Starstruck (Gillian Armstrong, 1982) Made i...
“Film is the Art Form of Today”: An Interview with Nadia Tass Isabella McNeill July 2017 Pioneering Australian Women There are only a handful of filmmakers in Australia whose careers share the longevity of director Nadia Tass. In collaboration with her writer-produce...
Girls on Film: Growing Up with Cinema Papers Alexandra Heller-Nicholas July 2017 Pioneering Australian Women The first dedicated film magazine I ever bought was in March 1988, Issue #68 of the Australian publication Cinema Papers. Nick Cave was on the cover t...
Claudia Karvan: The Girl Most Likely Alexandra Heller-Nicholas July 2017 Pioneering Australian Women Across her 34-year career, actor Claudia Karvan has become one of the most familiar faces on Australian screens, winning numerous awards and becoming ...
Questioning the “Strong Female Character”: Gillian Armstrong’s High Tide (1987) Blythe Worthy July 2017 Pioneering Australian Women In the late ‘70s and early ‘80s, when the Australian Film and Television School (AFTRS) program was in full swing and the Sydney Women's Film Group wa...
High Spirits: Jo Kennedy in Starstruck (Gillian Armstrong, 1982) and Tender Hooks (Mary Callaghan, 1989) Eloise Ross July 2017 Pioneering Australian Women Before Baz Luhrmann presented Sydney’s Coca Cola sign as a glittering icon and made it as famous as the city’s Harbour Bridge, other filmmakers had al...
Floating Life: The Heaviness of Moving Stephen Teo July 2017 Pioneering Australian Women Another meditation on migration, but this time also sketching a possible Asian-Australian cinema.
Girlhood Wild and Queer: Ana Kokkinos’s Only The Brave (1994) Whitney Monaghan July 2017 Pioneering Australian Women Ana Kokkinos’ short feature film Only The Brave (1994) opens in darkness with an expressive soundscape composed of soft, breathy murmurs and indetermi...
“Gentle, Tender, Rough, Kind and Cruel”: An Interview with director Mary Callaghan on Tender Hooks (1989) the editors July 2017 Pioneering Australian Women The following is an excerpt from the official press kit for the late Mary Callaghan’s Tender Hooks (1989). Courtesy Ronin Films. DVDs available from R...
Trust Your Instinct: An Interview with Ann Turner Craig Martin July 2017 Pioneering Australian Women Set in the Melbourne suburb of Surrey Hills during the summer of 1958, Ann Turner’s remarkable 1988 debut feature Celia follows eponymous nine-year ol...
Monsters, Masks and Murgatroyd: The Horror of Ann Turner’s Celia Craig Martin July 2017 Pioneering Australian Women Abstract >> In a recent interview with Ann Turner, she shared with me her journey from disappointment to cordial acceptance of the promotion ...
The Spectre at the Window: Tracey Moffatt’s beDevil (1993) Kate Robertson July 2017 Pioneering Australian Women Tracey Moffatt is one of Australia’s most successful artists, and has been producing ground-breaking film, photography and video work for almost thirt...
Into the Light: Hope, Despair and Haunted Doubles in Laurie McInnes’s Broken Highway (1993) Josh Nelson and Alexandra Heller-Nicholas July 2017 Pioneering Australian Women Laurie McInnes’s 1993 film Broken Highway is Australian Gothic at its simultaneously most brutal and beautiful; it is a Nick Cave song come to life. T...
Adventure Time: On Guard (Susan Lambert, 1984) Alexandra Heller-Nicholas July 2017 Pioneering Australian Women The slightest spirit of ye olde timey explorer boils within when one ‘discovers’ a movie with little online imprint. Susan Lambert’s 1984 feminist ter...
Revisiting Budd Boetticher: Introduction Dean Brandum June 2017 Revisiting Budd Boetticher For Senses of Cinema, in 2017 to include a dossier devoted to Budd Boetticher may seem a little ‘apropos of nothing’: this is a filmmaker who has always existed on the margins – never rising above the level of ...
“Don’t Do Things You Don’t Know About”: An Interview With Budd Boetticher Andrew J. Rausch June 2017 Revisiting Budd Boetticher Oscar “Budd” Boetticher was truly one of a kind, as both a film director and a man. He was a boxer and a bullfighter (becoming only the third white matador in history) before embarking upon a prosperous Hollywo...
“What the Hell’s a Nun Doin’ Out Here?”: Budd Boetticher Revised in Two Mules For Sister Sara (Don Siegel, 1970) Eloise Ross June 2017 Revisiting Budd Boetticher Directed by Don Siegel from a screenplay by Albert Maltz, it might seem odd that Two Mules For Sister Sara has a place in a Budd Boetticher dossier, given that he was not involved in production, nor seen on set...
Alone in the Alabama Hills: Budd Boetticher and Lone Pine Geoff Mayer June 2017 Revisiting Budd Boetticher The Good Lord really made this place for movies. There’s everything there. There’s sand, there’s rivers, it’s made for motion pictures. What I would do that other directors did not do, I knew every inch of Lon...
Budd Boetticher: The Last Hollywood Rebel Wheeler Winston Dixon June 2017 Revisiting Budd Boetticher Budd Boetticher (pronounced “bettiker”) was primarily known for his work as a director in the Western genre, but I didn’t want to tell him that. Boetticher refused to be pinned down with any labels, and describ...
“No One Can Kill Me”: The Rise and Fall of Legs Diamond (Budd Boetticher, 1960) Wheeler Winston Dixon June 2017 Revisiting Budd Boetticher The Rise and Fall of Legs Diamond occupies a curious place in the canon of Budd Boetticher’s work. Though he directed a few films with criminal elements, such as his superb thriller The Killer is Loose (1956), ...
Between ‘Action’ and ‘Cut’: Budd Boetticher’s Performative Arena Paul Jeffery June 2017 Revisiting Budd Boetticher In the realm of Hollywood cinema, the phrase “actors' director” is a fairly common descriptor, thrown about casually in the popular press and used as shorthand by critics to characterise a filmmaker who priorit...
Budd and Sand – The Aesthetics of Gender in The Bullfighter and the Lady (Budd Boetticher, 1951) David Melville June 2017 Revisiting Budd Boetticher “I don’t know what I’m going to do. But it will be my decision.” -Robert Stack, Bullfighter and the Lady In the opening five minutes of Bullfighter and Lady (1951), viewers may well start wondering if they ha...
Deaths in the Afternoon: Arruza (Budd Boetticher, 1972) Dean Brandum June 2017 Revisiting Budd Boetticher On 24 May 1972, The AVCO Center triplex theatre opened on Wiltshire Boulevard, Los Angeles. On two of the screens were the Paramount product the venue had secured a deal to distribute – the Woody Allen vehicle ...
Boetticher’s Bad Men Jeremy Carr June 2017 Revisiting Budd Boetticher Budd Boetticher’s unique approach to screen villainy started, oddly enough, with John Wayne. This icon of American/Western goodness and heroism had befriended Boetticher when the star’s production company stepp...
“A Full Woman Like That”: Female Resilience in Seven Men from Now (Budd Boetticher, 1956) Amy Taylor May 2017 Revisiting Budd Boetticher There is a moment in Budd Boetticher’s Seven Men From Now (1956) when Lee Marvin’s character voices the observation many of us have already made. Regarding the lead female character Annie Greer, played by Gail...
Ride Lonesome: The Career of Budd Boetticher Sean Axmaker February 2006 Feature Articles, Revisiting Budd Boetticher A biographical and critical overview of this greatly admired filmmaker and seminal stylist of the Hollywood B-movie tradition.
Decision at Sundown Robert J. Read July 2005 CTEQ Annotations on Film, Revisiting Budd Boetticher Decision at Sundown (1957 USA 77 mins) Source: Sony Classics Prod Co: Ranown Prod: Harry Joe Brown Dir: Budd Boetticher Scr: Charles Lang Jr., based on story by Vernon L. Fluherty Phot: Burnett Guffey Ed...
Crossing Over, or “It’s a Long Way to Lordsburg”: Comanche Station Adrian Danks October 2004 CTEQ Annotations on Film, Revisiting Budd Boetticher Comanche Station (1960 USA 73 mins) Source: Sony Picture Classics Prod Co: Ranown Prod, Dir: Budd Boetticher Scr: Burt Kennedy Phot: Charles Lawton, Jnr Ed: Edwin Bryant Art Dir: Carl Anderson Mus Dir: Misch...
Behind Locked Doors Riccardo De Los Rios October 2004 CTEQ Annotations on Film, Revisiting Budd Boetticher Behind Locked Doors (1948 USA 62 mins) Source: PC Prod Co: Aro Productions/Eagle-Lion Films Prod: Eugene Ling Dir: Budd Boetticher Scr: Eugene Ling, Malvin Wald, from Wald's story Phot: Guy Roe Ed: Norma...
Budd Boetticher John Flaus September 2001 Revisiting Budd Boetticher An overview of the Western myth and the art of Boetticher.
Budd Boetticher and the Westerns of Ranown Bruce Hodsdon July 2001 Revisiting Budd Boetticher The legend of Boetticher here paid tribute.
Contemporary Cinema Studies: A Discipline with a Future? (Introduction) Daniel Fairfax June 2017 Contemporary Cinema Studies: A Discipline with a Future? The cinema is in crisis, and it has been since 1895. This is only partly a joke. Louis Lumière mythically remarked that the cinema was “an invention without a future” soon after the first public screenings of t...
The Experience of a Gaze Held in Time: Interview with Jacques Aumont Daniel Fairfax June 2017 Contemporary Cinema Studies: A Discipline with a Future? One of the doyens of French film studies, Jacques Aumont began as a critic at Cahiers du cinéma under editors Jean-Louis Comolli and Jean Narboni. After leaving Cahiers, he moved into academia, with his dissert...
The Cinema is a Bad Object: Interview with Francesco Casetti Daniel Fairfax June 2017 Contemporary Cinema Studies: A Discipline with a Future? One of the Young Turks of semiotic film theory in the 1970s, counting Umberto Eco and Christian Metz among his mentors, Francesco Casetti established himself as a major figure in the field of film studies in It...
We Live in a World of Images: Interview with Dana Polan Daniel Fairfax June 2017 Contemporary Cinema Studies: A Discipline with a Future? A professor in the Department of Cinema Studies at New York University, Dana Polan has written prolifically on film and television since receiving a PhD from Stanford in 1980 and a Doctorat d’État from the Univ...
A Hybrid and Composite Field: Interview with Vinzenz Hediger Daniel Fairfax June 2017 Contemporary Cinema Studies: A Discipline with a Future? With a background in academic research, criticism and film curation, the Swiss-born scholar Vinzenz Hediger is presently Professor of Film Studies at the Goethe Universität in Frankfurt am Main. His doctoral wo...
The Possibilities are Still to be Explored: Interview with Angela Ndalianis Daniel Fairfax June 2017 Contemporary Cinema Studies: A Discipline with a Future? Angela Ndalianis is Research Professor in Media and Screen Studies at Swinburne University in Melbourne, and a member of the Senses of Cinema committee. Her research focuses on entertainment culture and the his...
Transnational Traffic: Interview with Weihong Bao Daniel Fairfax June 2017 Contemporary Cinema Studies: A Discipline with a Future? Weihong Bao completed her PhD at the University of Chicago in 2006, and is now an Associate Professor in Chinese and Film Studies at the University of California, Berkeley. Her research interests include Chines...
Two Interviews with Jean-Marie Straub and Danièle Huillet (1976 and 1984) Sally Shafto June 2017 Two Interviews with Jean-Marie Straub and Danièle Huillet True to its title, the recently published Writings (New York: Sequence Press, 2016) by Jean-Marie Straub and Danièle Huillet contains only a handful o...
Class Relations: A Conversation with Jean-Marie Straub and Danièle Huillet Edoardo Bruno and Riccardo Rosetti June 2017 Two Interviews with Jean-Marie Straub and Danièle Huillet Over time, the kind of relationship that regular film criticism maintains with the films of Jean-Marie Straub and Danièle Huillet could be perfectly d...
Rage and Resistance: Jean-Marie Straub and Danièle Huillet Interviewed by Claude-Jean Philippe (1976) Claude-Jean Philippe June 2017 Two Interviews with Jean-Marie Straub and Danièle Huillet “Cinema must set fire to life.” – Jean-Marie Straub This text was transcribed and translated from Claude-Jean Philippe's interview with Jean-Marie St...
