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‘Is
The Power of the Dog
a New Zealand film? National Identity, Genre and Jane Campion’
Paul Grant
May 2022
Feature Articles
Recent
A Face in the Crowd: Ritual, Mythological and Political contexts in
Stranger and the Fog
Amir Hossein Siadat
November 2023
Consensus Empire: Empowering the Spectator through Letterboxd Reviews
Tyler Thier
November 2023
We Can’t Save The Victims: Hauntology in Tony Scott’s
Déjà Vu
Aryan Tauqeer Khawaja
November 2023
Situating Lucile Hadžihalilović’s
Good Boys Use Condoms
Oliver Kenny
November 2023
Songs of Joy and Melancholy: On
My Darling in Stirling
Frankie Kanatas
November 2023
Film Criticism and the Grotesque: A Very American
Tár
& an Oz
Elvis
Laleen Jayamanne
August 2023
Interviews
Random
Mapping Global Horror: Academic roundtable
Paul Grant
November 2023
Interviews
Recent
An Interview with Delphine Girard
Gary M. Kramer
November 2023
Writing Like Water: An Interview with Paul Preciado
Mike Hoolboom
November 2023
Mapping Global Horror: Filmmaker roundtable
Amanda Barbour
November 2023
Our Body
is a Battleground: An Interview with Claire Simon
Öykü Sofuoğlu
November 2023
“Irritation Is the Most Important Tool Any Artist Has”: An Interview with Jessica Hausner
Jaimey Fisher & Gerd Gemünden
November 2023
Shame on Dry Land:
An Interview with Axel Petersén and Joel Spira
Gary M. Kramer
November 2023
Great Directors
Random
Kubrick, Stanley
Paul Grant
May 2002
Great Directors
Recent
Rou, Aleksandr
Deborah Allison
November 2023
Woo, John
Jeremy Carr
November 2023
Thompson, J. Lee
Jeremy Carr
May 2023
Beresford, Bruce
Benjamin Kooyman
May 2023
Fosse, Bob
Sherry Johnson
January 2023
Cimino, Michael
Giampiero Frasca
January 2023
Great Actors
Random
Stanwyck, Barbara
Paul Grant
August 2023
Great Actors
Recent
Taylor, Elizabeth
Gabrielle Stecher
November 2023
Bogart, Humphrey
Wheeler Winston Dixon
May 2023
Divine
Jacob Agius
October 2022
Lansbury, Angela
Joy McEntee
May 2022
Caine, Michael
Wheeler Winston Dixon
May 2022
Garbo, Greta
Jeremy Carr
May 2022
Festival Reports
Random
Bigger than Ever: The 12th Shanghai International Film Festival
Paul Grant
September 2009
Festival Reports
Recent
In Search of Indie’s Soul: Chinese Independent Cinema Today and Beyond
Xiang Fan
November 2023
Amiko
haunts the 23rd Nippon Connection
Roger Macy
November 2023
Notes From The 26th San Francisco Silent Film Festival
Jonathan Mackris
November 2023
Magnetizing and still Putting on Weight – the 37th Il Cinema Ritrovato
Roger Macy
November 2023
Dealing with the past, and present, at the 29th Sarajevo Film Festival
Randy Malamud
November 2023
76th Locarno Film Festival: Culture on the Edge, Tumbling Into Futures Unknown
Jaimey Fisher
November 2023
Book Reviews
Random
Portrait of an Eternal Outsider:
The Cinema of Sergei Parajanov
by James Steffen
Paul Grant
September 2014
Book Reviews
Recent
Facing the Other: Keyvan Manafi’s
The Eye of the Cinematograph: Levinas and Realisms of the Body
M. Sellers Johnson
November 2023
A Man of Genius Has Been Seldom Ruined But By Himself: Ethan Warren’s
The Cinema of Paul Thomas Anderson
Hannah Bonner
November 2023
The Rebellious and the Rigorous:
The Red Years of
Cahiers du cinéma
(1968-1973)
, by Daniel Fairfax
Tony McKibbin
August 2023
A Journey through Serge Daney’s
Cinema House
Emmanuel Bonin
August 2023
Bloody, Raging Females: Five Books Examine Contemporary Feminist Horror Films
Holly Willis
May 2023
Cinematic Bottom-Feeding:
Why It’s OK to Love Bad Movies
, by Matthew Strohl
Sam Woolfe
May 2023
CTEQ
Random
Starstruck
(Gillian Armstrong, 1982)
Paul Grant
April 2020
CTEQ Annotations on Film
Recent
Western
Martyn Bamber
December 2023
History and Oblivion: Radu Jude tells a “new” story an old way with
Aferim!
Shari Kizirian
December 2023
Silver City
Grace Boschetti
November 2023
The Golden Cage
: Ayten Kuyululu and Australian Cinema
Adrian Danks
November 2023
Twice a Man
Darragh O’Donoghue
November 2023
A Rainha Diaba
Mateus Nagime
November 2023
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Tagged
May 1968
Home
May 1968
A Grin Without a Cat
/
Le Fond de l’air est rouge
Paul Grant
September 2009
CTEQ Annotations on Film
