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    • Baron Lands: Environmental Upheaval and the Texas Oil Movie

      Oloruntoba John Olubunmi
      May 2021
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    • Respecting the Lives of Others: Bergman Island, Hommage and Anaïs in Love

      Anthony McKibbin
      August 2022

    • More than a Wink: The Nature of Reality in Blow-Up and Las Babas del Diablo

      Will Hair
      July 2022

    • Protestploitation ’70: Revisiting Zabriskie Point and Strawberry Statement

      Selen Ozturk
      July 2022

    • Interrogating Identity: The Fractal Self in Le petit soldat

      Michael James Beck
      July 2022

    • Suicide and Genius: Insights into One Episode of Akira Kurosawa’s Dreams

      Matthew Michaud & Justin Richardson
      July 2022

    • Bigger than life, or stranger: Pedro Costa’s Vitalina Varela: Part III

      Thomas Austin
      July 2022
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    • “The cinema remains alive when it is diverse”: Interview with Jean-Gabriel Périot

      Oloruntoba John Olubunmi
      January 2022
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      Maja Korbecka
      July 2022

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      Maria Giovanna Vagenas
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    • Human is only human when vulnerable: An Interview With Michel Franco

      Savina Petkova
      May 2022

    • ‘I Was Taunting the Western’: An Interview with Alejandra Márquez Abella

      Silvia Spitta & Gerd Gemünden
      May 2022

    • “The Act of Filming is an Inner and Physical Journey in Itself”: Interview with Helke Misselwitz

      Victor Paz
      May 2022

    • Information as a music video, comedy as a diagram: Beny Wagner & Sasha Litvintseva in conversation

      Madeleine Collier
      May 2022
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      Oloruntoba John Olubunmi
      November 2006
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      Sanya Osha
      May 2022

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      Darragh O’Donoghue
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      Jeremy Carr
      January 2022

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      Tom Cunliffe
      January 2022

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      Charles Fairbanks
      January 2022

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      Dan Golding
      July 2021
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      Oloruntoba John Olubunmi
      May 2022
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      Joy McEntee
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      Wheeler Winston Dixon
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      Jessica Balanzategui
      January 2022
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      Oloruntoba John Olubunmi
      December 2010
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      Bérénice Reynaud
      August 2022

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      Cerise Howard
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      Daniel Fairfax
      August 2022

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      Roger Macy
      July 2022

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      Jonathan Mackris
      July 2022

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      Judith Pernin
      July 2022
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      The Young Desire It: A Review of The Devil’s Playground by Christos Tsiolkas

      Oloruntoba John Olubunmi
      March 2003
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    • Trafic at 30, End of a Film Journal

      Emmanuel Bonin
      July 2022

    • How to Do Things with Camera Movement: The Lure of the Image: Epistemic Fantasies of the Moving Camera, by Daniel Morgan

      Kyle Barrowman
      May 2022

    • The Depths of Empiricism: Werner Herzog: Ecstatic Truth and Other Useless Conquests, by Kristoffer Hegnsvad

      Tony McKibbin
      January 2022

    • Hollywood, Reinvented: Shooting Midnight Cowboy: Art, Sex, Loneliness, Liberation, and the Making of a Dark Classic, by Glenn Frankel

      Elroy Rosenberg
      January 2022

    • Rhythm and Light: Poetic Cinema and the Spirit of the Gift in the Films of Pabst, Parajanov, Kubrick, and Ruiz, by Laleen Jayamanne

      Steven Shaviro
      July 2021

    • West Side Story Redux: West Side Story: The Jets, the Sharks, and the Making of a Classic, by Richard Barrios

      Adrian Schober
      July 2021
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      Keaton Shorts

      Oloruntoba John Olubunmi
      April 2001
      CTEQ Annotations on Film
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    • Shadows of Forgotten Ancestors (Sergei Parajanov, 1965)

      Wheeler Winston Dixon
      July 2022

    • Shockproof (Douglas Sirk, 1949): The Insanity of Romantic Desire

      Wheeler Winston Dixon
      May 2022

    • The Grotesque Loves of Jealousy, Italian Style (Ettore Scola, 1970)

      Tiia Kelly
      May 2022

    • A Geography of Fractured Desire: Michelangelo Antonioni’s L’eclisse (1962)

      Danica van de Velde
      May 2022

    • Il Deserto Rosso (Red Desert, Michelangelo Antonioni, 1964)

      Boyd van Hoeij
      May 2022

    • ‘You Can’t Make an Omelette…’ – Modesty Blaise (Joseph Losey, 1966) and the Art of Breaking Eggs

      David Melville
      May 2022
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more articles... more articles... more articles... more articles... more articles...

Author Oloruntoba John Olubunmi

Oloruntoba John Olubunmi

Bunmi Oloruntoba is currently completing a M.F.A in scriptwriting at Regent University, Virginia Beach. He lies awake at night wondering why kamikaze pilots wore helmets.

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Summer Holiday

Oloruntoba John Olubunmi
July 2004
CTEQ Annotations on Film
Summer Holiday (USA 1948 92 mins) Source: NLA/ACMI Prod Co: MGM Prod: Arthur Freed Dir: Rouben Mamoulian Scr: Frances Goodrich, Albert Hackett, Irving Brecher, Jean Holloway, from Eugene O'Neill's play A...
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The Atomic Cafe

Oloruntoba John Olubunmi
April 2004
CTEQ Annotations on Film
The Atomic Cafe (1982 USA 92 mins) Source: Sharmill Films Prod Co: The Archives Project Prod, Dir: Jayne Loader, Kevin Rafferty, Pierce Rafferty Ed: Jayne Loader, Kevin Rafferty Sound: Marge Crimmins ...
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Il Bell’Antonio

Oloruntoba John Olubunmi
April 2004
CTEQ Annotations on Film
Il Bell'Antonio (1960 Italy 104 mins) Source: ScreenSound Australia Prod Co: Arco/Cino del Duca/Societé Cinématographique Lyre Prod: Alfredo Bini Dir: Mauro Bolognini Scr: Pier Paolo Pasolini, Gino Visen...

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