Search Results for: "Hitchcock"

The 2011 edition of the Toronto International Film Festival’s Wavelengths program included Mark Lewis’s short film, Black Mirror at the National Gallery, in which two bulky, fully articulated machines – one man...

1. Werner’s Gaze, by Chantal In the prospect of writing a text on Chantal, I viewed films she had shot during the 2008 Venice Film Festival, where she was the President of the Jury for the Orizzonti section; s...

Download our Style Guide as a PDF Please ensure manuscripts are in a standard font, 12-point font size and contain minimal formatting.  Illustrations should be sent as high resolution, separate files in a s...

“Once you find a hidden picture, it seems always to have been there staring you in the face” D.A. Miller (1) “One needs to stop looking at the photograph and instead start watching it” Ariella Azoulay (2) ...

January 15, 1893, Dublin, Ireland. d. July 24, 1950, Los Angeles, USA The world’s greatest director. Erich von Stroheim Rex Ingram may be the best-known enigma in film history. We are aware of him, these d...

In the immediate aftermath of the 2007-2008 Writers Guild of America (WGA) strike, the unfailingly myopic New York Times directed its geriatric Grey Lady gaze on the subject of the action’s future consequences,...

In the opening paragraph of their introduction to A Companion to Jean-Luc Godard, Tom Conley and T. Jefferson Kline situate a particular cinephilic response to the great Swiss filmmaker’s work in terms of where...

Suddenly, I realised that this film was impregnated with the gaze of cinema goers from the time of the Occupation – people from all walks of life, most of whom would not have survived the war. They had been tak...

Jerzy Kawalerowicz’s Night Train may not at first grip you tightly, but it is a film that blows cool, sad cigarette smoke, moving the hair on the back of your neck like a cold night wind through a corn field. I...

Mr. President, I’m not saying we wouldn’t get our hair mussed. But I do say no more than ten to twenty million killed, tops. Uh, depending on the breaks. – General Buck Turgidson in Dr. Strangelove  Death h...

A long, long time ago English film magazines arrived in Melbourne after a journey by boat that often took several months. They could arrive in a rush, several issues at a time. The place where they were sold wa...

She watched him, and was aware that his eyes were on the diamonds and not on her face. She quickly took them off and handed them to him. ‘I am afraid,’ she said, with dry eyes more tragic than if they had been ...

La Paura (Fear, 1954) is the final and arguably most underrated film collaboration between Ingrid Bergman and Roberto Rossellini. Before their seven-year marriage from 1950-57, the couple made headlines after t...

It’s a moment of beauty disrupted by thundering, militaristic noise: Elena (Ingrid Bergman), a late-19th-century Polish princess, sits at a piano while her lover, a composer, tries to drown out the festive soun...

When Hollywood came calling to sign both Ingrid Bergman and Gustaf Molander for a remake of Intermezzo (1936), the actress and the director’s reluctance was probably no surprise, considering MGM’s famous diffic...

Introduction In 2004 an advertisement featuring a car that transformed into a dancing robot appeared on US and European television. At thirty seconds in length and powerfully reminiscent of the filmed vaudevil...

Introductory note: 2015 sees the 40th anniversary of Michelangelo Antonioni's The Passenger (aka Profession: Reporter), arguably one of the Italian director's greatest masterpieces. To mark the occasion, Senses...

Feature image: The Diary of a Teenage Girl (dir. Marielle Heller) A recent medical report intuits that people who complain live longer and healthier lives; so maybe this report is going to shave off a few week...

b. Rajmund Roman Thierry Polański, August 18, 1933, Paris, France It is difficult to get a handle on Roman Polanski. His eclectic body of work ranges from pinnacle achievements in European art cinema to camp g...

Entries in part 1: Antti Alanen Francisco Algarín Navarro Michael J. Anderson Geoff Andrew Martyn Bamber Lynden Barber Michael Bartlett Nicolas Bartlett Conor Bateman Gustavo Beck Sean Bell Pa...

Entries in part 3: Lucas Hammer Michael Helms Alain Hertay Lee Hill Wai Ho Joshua Hoffmann Alexander Horwath Peter Hourigan Brian Hu Christoph Huber Zachary Ingle Tara Judah Dominik Kamalzade...

Entries in part 4: Josh Mabe Miguel Marías Duncan McLean David Melville Adrian Mendizabal Nina Menkes Peter Meredith Mads Mikkelson David Miller Olaf Möller Brent Morrow Oona Mosna Jorge Mour...

Entries in part 5: Fidel Jésus Quirós Robert Reimer Bérénice Reynaud Stuart Richards Jeremy Rigsby Peter Rist Eloise Ross Julian Ross Miriam Ross Dan Sallitt Maria San Filippo José Sarmiento ...

Feature image: Jill Esmond with Laurence Olivier When I was eleven, an Australian schoolboy already besotted with the movies, I saw a film called My Pal Wolf (1944) at a kids’ holiday matinee in rural Victoria...

Back in the ’60s and early ’70s, our serious film-viewing landscape was the main campus cinema, Sydney University’s Union Theatre, later the Footbridge; then the fleapits, the adult education centres, and the f...

John Flaus joined the La Trobe faculty in 1972, the second year of my three-year stint there. Thus he was a working colleague of mine for just two years. But he made a strong and lasting impression on me. I’...

Originally published in Masque vol. 1, no. 5, May-June 1968, pp. 14-17. This article appeared within a special film issue of this relatively short-lived but significant dramatic and performing arts magazine. Th...

Prologue For many in Generation X, there is the time before Pulp Fiction (1994) and there is the time after Pulp Fiction. The shift in consciousness – personal, cultural, cinematic – was seismic. As the story ...

These articles were originally published in Paul Winkler: Films 1964-94 , Museum of Contemporary Art and Paul Winkler, Sydney, 1995, pp. 9-11 and 24. Republished with the permission of the author and the Museum...

Originally published in CTEQ Annotations on Film no. 4, 1996, pp. 6-7. It appears here with minor corrections. Republished with the permission of the author. “Among well-know German authors Kluge is the least ...

I’m a sucker for a good epigraph. A good epigraph can put the reader in the right state of mind for what follows, creating in her consciousness what film critic Manny Farber referred to as “negative space” – th...

“The past is a foreign country: they do things differently there.” (1) Bologna’s Cinema Ritrovato festival invites us to explore the past. But it reveals that there are many different worlds in the past, and t...

The central character in The Legend Maker (Ian Pringle, 2014) is an avuncular crook, a criminal type familiar to contemporary audiences from the recent Hollywood hit American Hustle (David O. Russell, 2013) to ...

After winning a Tiger Award at the 2011 Rotterdam film festival, Sergio Caballero’s sui generis feature debut Finisterrae, with its tale of two ghosts making a pilgrimage across Spain, hit the festival circuit ...

In 2007, Romania capped a startling four-year streak of major victories on international cinema’s grandest and most controversial stage, the Cannes Film Festival, where Cristian Mungiu’s 4 Months, 3 Weeks and 2...

In the very beginning of Alfonso Cuarón’s Children of Men (2006), before we are introduced to characters or any images, what we first experience as an audience is sound. We hear the voice of newscasters describ...