Search Results for: "Hitchcock"

A Soviet Fairy Tale: Ironiya sudby, ili S legkim parom! (The Irony of Fate, or I Hope You Have a Nice Bath!, Eldar Riazanov, 1976) Canon formation tends to be a highly contentious affair, and part of the job o...

From Failed Propaganda to Timeless Masterpiece: Man with a Movie Camera (Dziga Vertov, 1929) In 1927 while Soviet cinema was celebrating the tenth anniversary of the Bolshevik Revolution, one of its most ferve...

“It is your only chance to see this film”: the opening phrase of Seances is one whose meaning is now all but forgotten. Seances, a video work by Guy Maddin, Evan Johnson, Galen Johnson and the National Film Boa...

I could go on and on about Tarkovsky. Thousands have.  Some directors seem made for critical fodder. Hitchcock, Welles, Ford, Kurosawa, and others in the cinematic pantheon have inspired an academic avalanch...

It is always in the process of being made. It is never finished; never closed. Perhaps we can imagine space as a simultaneity of stories-so far. – Doreen Massey Can there be such a thing as a progressive “s...

Good plumbing seems to be essential for a happy life or at least as the film, The Plumber (1979), suggests with ironic wit. This film may be seen as part of the Australian New Wave, which has produced many tale...

The essay discloses Petzold's interest in the ways in which the planned obsolescence integral to regimes of neoliberal production and consumption is inscribed onto the function of the female body within a heter...

One hundred and twenty-seven pages into this substantial biography of Eric Rohmer, Antoine de Baecque and Noël Herpe, having described their subject’s quotidian routines, throw up their hands in seeming despair...

Abbas Kiarostami would seem to make films that suggest philosophical enquiry. But, in his fine book, Matthew Abbott makes clear that the philosophical content of the director's work does not mean this is where ...

“The godfather of the Romanian New Wave” is probably the most frequently used phrase to describe Cristi Puiu, the director who seemed to start this whole new aesthetic with his Un Certain Regard winning film T...

The essay examines how Petzold evokes an embodied mode of spectatorship as part of a strategy to counter the approach to history taken by von Donnersmarck. Critics have observed that Petzold’s first historical ...

The Benjaminian Writings on the Wall and Petzold’s Archaeology of Genre In an early scene in Christian Petzold’s 2015 Phoenix, protagonist Nelly Lenz lies in a hospital bed as her friend Lene Winter lists fami...

When François Truffaut wrote “Une crise d’ambition du cinéma francais” (1955) in his characteristically inflammatory tone, he was reacting against directors producing “canned theatre”, the cinematic effort of p...

Acclaimed Wellington-born New Zealand filmmaker Dame Jane Campion once stated that she “would love to see more women directors because they represent half of the population and gave birth to the whole world. Wi...

“Guys like you and Johnny Dillinger,” goes the famous line from Raoul Walsh’s exhilarating gangster classic High Sierra (Raoul Walsh, 1941), “are just rushing toward death.” The words refer to Humphrey Bogart’s...

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 was working to support emerging filmmakers, the Australian pub...

Abstract >> In a recent interview with Ann Turner, she shared with me her journey from disappointment to cordial acceptance of the promotion of Celia, her 1989 debut feature film, as horror. “At first ...

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 what Plato called a Timocracy in his Republic, a society rul...

Zwartboek (Black Book) is a Holland homecoming for director Paul Verhoeven, returning to the Netherlands from the United States after the technically accomplished but narratively conventional (for Verhoeven) Ho...

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 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 history.”– Molly Haskell While researching her portrait of the...

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 1965-1973, a period during which his name was attached to such ...

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 York Times – always animated, hyper-readable, and often subtly ...

Over time, the kind of relationship that regular film criticism maintains with the films of Jean-Marie Straub and Danièle Huillet could be perfectly described as a sort of class relations. Straub and Huillet...

The year 2016 in Korean cinema was especially strong if turbulent, with many major films by established auteurs, impressive debuts and second features from younger directors, and a political controversy over th...

The 2016 Cannes Film Festival closed with screenings of Asghar Farhadi’s Forushande (The Salesman, 2016) and Paul Verhoeven’s Elle (2016), which were both competing for the Palme d’Or. The pairing of these film...

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...

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 rom-com Het schnitzelparadijs (Kitchen Paradise), about a Moro...

“Cinema must set fire to life.” – Jean-Marie Straub This text was transcribed and translated from Claude-Jean Philippe's interview with Jean-Marie Straub and Danièle Huillet entitled, “Le cinéma n’existe pas e...

Half a century from the moment when British cinema flickered so brightly as to contend on even footing with Hollywood’s most mainstream product in the American market it remains Alexander Walker’s accounts that...

When we held retrospective of Jaime Rosales’ work at Cinematik Film Festival in Piešťany, Slovakia in September 2015 and gave him carte blanche to pick his favourite films or films he was influenced by, he chos...

In 1957, two young critics from Cahiers de cinéma published a study of Alfred Hitchcock, drawing attention to the artistic and moral complexity of a filmmaker previously classed as a mere entertainer. Among the...

ENTRIES IN PART 1: Australian Film Institute Research Collection Francisco Algarín Navarro Julien Allen Michael J. Anderson Geoff Andrew Sam Ankenbauer Rowena Santos Aquino Luke Aspell Sean Axmaker ...

ENTRIES IN PART 2: Thomas Caldwell Raúl Camargo Bórquez Michael Campi Forest Cardamenis Nicolas Carrasco Michael J. Casey Daryl Chin Lesley Chow Roberta Ciabarra Cinema For All Martyn Conterio Ada...

ENTRIES IN PART 3: William Edwards Russell Edwards Randall Egan Hossein Eidizadeh Kaya Erdinç Ted Fendt Felicity Ford Gwendolyn Audrey Foster Mark Freeman Kenji Fujishima Anders Furze Gavin Ga...

ENTRIES IN PART 6: Fidel Jesús Quirós Stuart Richards Peter Rist Kate Robertson Eloise Ross Julian Ross Paula Arantzazu Ruiz Lisi Tribble Russell Dan Sallitt Maria San Filippo José Sarmie...