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      Film Culture in Paraguay: Interview with Hugo Gamarra Etcheverry

      Joseph Sgammato
      July 2002
      Feature Articles
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    • When Knowledge Takes Over Action: A Narrative Analysis of Three Georgian Conflict-Sensitive Films: The Other Bank, Tangerines, and Corn Island

      Khatuna Maisashvili
      January 2023
    • Values of Baz Luhrmann’s Elvis: A Carnival Ride

      Laleen Jayamanne
      January 2023
    • Fellini’s Memory: Amarcord

      Bruce Jackson
      January 2023
    • More than Mimicry: On Puppets and Interdependency in Annette and The Double Life of Véronique

      Indigo Bailey
      January 2023
    • After Structural Film: The Conceptual films of Morgan Fisher

      Arindam Sen
      January 2023
    • This Body Keeps the Score: the films of Saidin Salkic

      Dirk de Bruyn
      January 2023
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    • Leaning into the Challenge: Interview with Scattered co-creators Logan Mucha and Kate Darrigan

      Joseph Sgammato
      January 2022
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    • Splice Here A Projected Odyssey: An Interview with Rob Murphy

      Tara Judah
      January 2023
    • Piaffe: Interview with Ann Oren

      Maria Giovanna Vagenas
      January 2023
    • Flesh Memories: Yeo Siew Hua’s Expanded Cinema in The Once and Future

      Toby Wu
      January 2023
    • In Search of Lost Time: An Interview with Christophe Honoré

      David A. Gerstner
      January 2023
    • Slow Fireworks: The Films of Amy Halpern

      Arindam Sen
      January 2023
    • About Time: Interview with Cyril Schäublin

      Hamed Sarrafi
      January 2023
  • Great Directors
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      Joseph Sgammato
      July 2002
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      Sherry Johnson
      January 2023
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      Giampiero Frasca
      January 2023
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      Jeremy Carr
      October 2022
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      Hal Young
      October 2022
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      Sara Delshad
      October 2022
    • Smith, Jack: Travails of an Underground Artist

      Sanya Osha
      May 2022
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      Joseph Sgammato
      January 2022
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      Jacob Agius
      October 2022
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      Joy McEntee
      May 2022
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      Wheeler Winston Dixon
      May 2022
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      Jeremy Carr
      May 2022
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      Mark Lager
      May 2022
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    • Scanning Animafest: the 24th Animafest

      Joseph Sgammato
      June 2014
      Festival Reports
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    • Fire Within: The 60th Viennale

      Leonardo Goi
      January 2023
    • Politics, Isolation, Pandemic: The 35th Tokyo International Film Festival

      Kohei Usuda
      January 2023
    • The Kids Aren’t Alright: The 27th Busan International Film Festival

      Marc Raymond
      January 2023
    • A Report on the Exhibition Threshold (works by Dirk de Bruyn, Guy Grabowsky & Mat Hughes)

      Glenn D'Cruz
      January 2023
    • All the Pain and Exploitation: 66th London Film Festival

      Tara Judah
      January 2023
    • BABY, THE RAIN MUST FALL … on the Claude Sautet retrospective at the 70th San Sebastian International Film Festival

      Neil Young
      January 2023
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    • Steven Spielberg: A Life in Films

      From Reverence to Spielberg: Steven Spielberg: A Life in Films by Molly Haskell

      Joseph Sgammato
      June 2017
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    • For a Double-Edged Theory: Essais sur la signification au cinéma at 50

      Abel Muñoz Hénonin
      January 2023
    • Dennis Lim’s Tale of Cinema: A Meta-Monograph

      Marc Raymond
      January 2023
    • In search of a Global Filipino Auteur: Sine ni Lav Diaz, edited by Parichay Patra and Micheal Kho Lim

      Pujita Guha
      January 2023
    • Philosophy for the Blockbuster Audience: Christopher Nolan: Filmmaker and Philosopher, by Robbie B. H. Goh

      Tom Boniface-Webb
      October 2022
    • Do we need Digital Tarkovsky?

      Corey P. Cribb
      October 2022
    • Trafic at 30, End of a Film Journal

      Emmanuel Bonin
      July 2022
  • CTEQ
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      The Testament of Dr. Mabuse

      Joseph Sgammato
      April 2004
      CTEQ Annotations on Film
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    • The Lure (Agnieszka Smoczyńska, 2015)

      Faith Everard
      December 2022
    • Othering Heights: The Queerest of the Queer in Rosa von Praunheim’s City of Lost Souls (1983)

      Cerise Howard
      December 2022
    • To walk away, you gotta leave something behind, or a long story short: Hedwig and the Angry Inch (2001)

      Cerise Howard
      December 2022
    • Lost Paradise: F.W. Murnau’s Tabu: A Story of the South Seas (1931)

      Andréas Giannopoulos
      November 2022
    • Nosferatu: Eine Symphonie des Grauens (Nosferatu: A Symphony of Horror, F.W. Murnau, 1922)

      Martyn Bamber
      November 2022
    • Sunrise: A Song of Two Humans (F.W. Murnau, 1927)

      Jacob Agius
      October 2022
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Author Joseph Sgammato

Joseph Sgammato

Joseph Sgammato has written for Sight and Sound, The Wordsworth Circle, The College Language Association Journal, and other publications. He teaches English and Film at Westchester Community College, a division of the State University of New York (SUNY), in Valhalla, New York, USA, and lives in Norwalk, Connecticut.

Shimizu Redivivus: Nakinureta haru no onna yo (A Woman Crying in Spring, Hiroshi Shimizu, 1933)

Joseph Sgammato
April 2021
CTEQ Annotations on Film
Among the many differences the widely acknowledged dean of Japanese film scholars in the Anglophone world, Donald Richie, likes to point out between Western and Japanese filmmakers is their response to the intr...

“Reality Is Always Magic”: The Experience (Abbas Kiarostami, 1973)

Joseph Sgammato
July 2020
CTEQ Annotations on Film
When Iranian director Abbas Kiarostami unexpectedly passed away in 2016, he was deeply mourned by lovers of cinema. Martin Scorsese gave voice to the world’s loss when he said, “He was one of those rare artists...

The Flipside of Neorealism: Miracle in Milan (Vittorio De Sica, 1951)

Joseph Sgammato
February 2020
CTEQ Annotations on Film
What are we to make of Miracolo a Milano (Miracle in Milan, 1951), Vittorio De Sica’s comic fantasy about postwar poverty produced within the artistic parameters of neorealismo? We all know the requirements ...

His Enchanted Gaze: The Tree of Wooden Clogs (Ermanno Olmi, 1978)

Joseph Sgammato
October 2019
CTEQ Annotations on Film
Among important Italian directors, Ermanno Olmi occupies a curious middle ground. Critics and fans alike may sense that his works offer more substance than many – indeed, perhaps even the majority of – films of...

See, Hear, and Speak of Evil: Three Monkeys (Nuri Bilge Ceylan, 2008)

Joseph Sgammato
February 2019
CTEQ Annotations on Film
Üç Maymun (Three Monkeys, 2008) was the fifth of the eight features that have so far been directed by Cannes favourite Nuri Bilge Ceylan, a leading Turkish filmmaker who has earned international respect for fil...

Naked Came the Stranger: Eadweard Muybridge, Zoopraxographer (Thom Andersen, 1975)

Joseph Sgammato
March 2018
CTEQ Annotations on Film
University courses on the history of film often begin with the photographic experiments of Eadweard Muybridge, most famously the 1878 sequence of still photographs of a galloping racehorse that showed all four ...
Maborosi

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 many first efforts that must settle for “promising” status, Ma...

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