Search Results for: "Hitchcock"

Two years after his censorship battle over The Moon is Blue (1953), Otto Preminger again provoked the censors with his 1955 film The Man with the Golden Arm. A significant film from Preminger’s middle-career, T...

It is always ‘before the Revolution’ for us, sons of the bourgeoisie. – Bernardo Bertolucci, Prima della rivoluzione (1964) Invited as Guest Artistic Director by the 2012 AFI FEST presented by Audi, Bernardo ...

Fruitvale We were lucky. The cold front that had swept through most of the US in January receded on time, so we could enjoy the relatively mild weather, and even sunshine glittering on the snow, while waiti...

In Billy Wilder’s Double Indemnity (1944), the murder of Tom Powers’ character is built up through the two lovers/killers’ plans. And yet the scheme could be all talk if it weren’t for the opening confession of...

THE ENTRIES PART ONE Antti Alanen Michael J. Anderson Geoff Andrew Sean Axmaker Martyn Bamber Michael Bartlett Paolo Bertolin Pamela Biénzobas Cis Bierinckx Yvette Biro James Brown...

Geoff Gardner Antony I. Ginnane Chiranjit Goswami Jaime Grijalba Lee Hill Alexander Horwath Florent Houde Peter Hourigan Cerise Howard Christoph Huber Dominik Kamalzadeh Daniel Kasman Christop...

Peter Nagels Brad Nguyen Andy Norton Darragh O’Donohue Michael Pattison David Pearson Antoni Peris David Phelps Jit Phokaew Matías Piñeiro Phoebe Pua Bérénice Reynaud Marcos Ribas de Faria Pe...

Two Lovers To enter the film world of James Gray is to enter a closed world of Jewish families, with tensions between family members and frequently failed efforts by sons at succeeding at the commercial dem...

“If Sarris became the critic I read and reread more than any other, it was perhaps for the sense that at the centre of his writing was a reverence for film history – his kind of film history – as a secret poem ...

Now in its sixth year, Paulo Branco’s Lisbon and Estoril Film Festival (LEFFEST) has carved out a niche on the roster of smaller European fests with classy retrospectives programmes, great guests and a commitme...

The films of Roman Polanski make a provocative and challenging body of work, but one which is also difficult to separate from the almost melodramatic details of Polanski’s own life. It is also difficult to alig...

Using concepts of studio allegory and corporate identity, with a touch of business magazine writing, Jerome Christensen, Professor of Literature and Film at the University of California Irvine, argues that ...

For Guillaume-en-Egypte, Polly and Chris This is a slightly revised version of a paper presented at a symposium devoted to Chris Marker in the late 1990s. Each of the speakers was asked to identify and talk ...

The first thing to say about Martha Ansara’s book is that it is a gorgeous object, perhaps the best argument against e-books that I have seen this year. With its large coffee-table format, glossy white type on ...

In the 1930s Charlie Chaplin referred to Peter Lorre as ‘the greatest living actor’ (p. 60). Fifty years later, Vincent Price claimed that Lorre was ‘not in any way a bad actor; it's just that Hollywood's creat...

Long recognised as the pioneer of the “Kuleshov effect”, teacher of future cinematic talents such as Sergei Eisenstein (who attended Kuleshov’s Film Workshop for three months during 1922-1923), Vsevolod Pud...

I Some films with episodic constructions have better parts than others; each admirer of Le Plaisir (1952) may favour one story adaptation over the other two and present their supporting arguments. Narrative fi...

For over a quarter of a century Bologna has been celebrating the rediscovery and recovery of lost and forgotten films. Its Cinema Ritrovato festival revels not in the very newest pieces of filmmaking, but in th...

On the first weekend of this year’s Cannes, the heavens opened with a ferocity and persistence rare for the Côte d’Azur, dousing the red carpet galas and sending hordes of festival attendees, unprepared for inc...

Cinephilia – the very specific love inspired by cinema – has been repeatedly declared deceased. However, whether one takes cinephilia as a historical phenomenon now outshined, or asserts that the magic power of...

Looking into France’s international success with The Artist, Zafar Masud discovers the little-known history of a Parisian theatre and the cinéphiles that made its reputation.

Not long after joining the staff of The New Yorker in 1968, Pauline Kael wrote a review of Butch Cassidy and the Sundance Kid (George Roy Hill, 1969), the popular western starring Paul Newman and Robert Redford...

I imagine editing a book series is somewhat akin to curating an art show or even a film retrospective: in all three cases the curators/editors need to present works tied together with a thematic thread. For the...

Your fearless film critic, Alice, was getting ready to cover the new edition of the AFI Fest which, this year again, was Presented by Audi and offering free tickets to the audiences – the former explaining the ...

The cinema turns every viewer into a detective. Murray Pomerance goes in search of “signs” and their significance in films.

An excerpt on one of the masterpieces of 6os cinema from Mary Wiles' forthcoming book on Jacques Rivette, published by Illinois University Press.

Festival Business The opening weekend of the 2011 Toronto International Film Festival also signalled the beginning of TIFF’s second year in the $200 million dollar TIFF Bell Lightbox. The public side of the ...

In Bigger Than Life (1956) schoolteacher Ed Avery fragments in the broken medicine-cabinet mirror that his wife Lou furiously slams shut when in a pharmaceutically induced delusion he imperiously gives her an o...

One night, in the autumn of 1929, Raoul Walsh was driving along a desolate highway in the Utah desert, scouting locations for his next movie. Suddenly, a jackrabbit skittered across the road. Hurtled into the a...

I have been a David Lynch fan for many years. His cryptic narratives and the sense of dread that pervades his films have always gripped me. As a former cinema studies student, I have also enjoyed his intertextu...

As Alan Williams notes, “Le Corbeau is an essential work for world film history, if only because its meanings are still being debated” (1). Filmed during the Occupation by the German controlled Continental Film...

“You don’t know what fear is. But you’ll see. It’s catching. It’s catching like smallpox. And once you get it, it’s for life.” - Dick in Le Salaire de la peur (The Wages of Fear) The Wages of Fear is a 19...

Taking his cue from a number of Deleuzian concepts, Thierry Jutel casts a fresh look at the Coen brothers film.

Film historians have long shown an interest in the economic, technical, and aesthetic aspects of widescreen film formats. When widescreen became popular in the 1950s, André Bazin and other critics at Cahiers du...

The author brings together two seminal films from differing eras that challenge audiences in complex and confronting ways.

In the late 1970s, Catherine Berge’s encounter with both the films and person of King Vidor was a seminal turning point in her life. Here, she talks about her personal history with the director and her 1980 film devoted to him.