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    • An Analysis of the Character Animation in Disney’s Tangled

      Paulo B. Menezes
      July 2013
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    • Bigger than life, or stranger: Pedro Costa’s Vitalina Varela: Part II

      Thomas Austin
      May 2022
    • Fire Machines: Titane and the Pyrotechnics of Love

      Emmalea Russo
      May 2022
    • Cringing Violently: Reparative Watching, Phenomenology and Discomfort in Australian Cinema

      Caitlin Wilson
      May 2022
    • Deleuzian Rumblings: Residue by Desire Machine Collective

      Vedant Srinivas
      May 2022
    • Acts of Faith: On Benedetta (Paul Verhoeven, 2021)

      Peter Verstraten
      May 2022
    • ‘Is The Power of the Dog a New Zealand film? National Identity, Genre and Jane Campion’

      Alfio Leotta & Missy Molloy
      May 2022
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    • The Unbearable Object of Liminality: A Conversation with Zheng Lu Xinyuan

      Paulo B. Menezes
      July 2020
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    • Human is only human when vulnerable: An Interview With Michel Franco

      Savina Petkova
      May 2022
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      Silvia Spitta & Gerd Gemünden
      May 2022
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      Victor Paz
      May 2022
    • Information as a music video, comedy as a diagram: Beny Wagner & Sasha Litvintseva in conversation

      Madeleine Collier
      May 2022
    • The Creative Leap to Fluid Consciousness: An Encounter with Ashley McKenzie

      Brigitta Wagner
      May 2022
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      Nolan Kelly
      May 2022
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      Paulo B. Menezes
      July 2002
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      Sanya Osha
      May 2022
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      Darragh O’Donoghue
      May 2022
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      Jeremy Carr
      January 2022
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      Tom Cunliffe
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      Charles Fairbanks
      January 2022
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      Dan Golding
      July 2021
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      Paulo B. Menezes
      May 2022
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      Joy McEntee
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      Wheeler Winston Dixon
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      Mark Lager
      May 2022
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      Jessica Balanzategui
      January 2022
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      The 43rd San Francisco International Film Festival - A Report

      Paulo B. Menezes
      June 2001
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      Madeleine Collier
      May 2022
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      Tara Judah
      May 2022
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      Tara Judah
      May 2022
    • From Within the Umbra of History: A Few Things about the Films of Rainer Komers, Sohrab Hura and Sylvia Schedelbauer

      Anuj Malhotra
      May 2022
    • Film Goes On (?): The 23rd Jeonju International Film Festival

      Marc Raymond
      May 2022
    • Play-Doc 2022: António Campos, a secret filmmaker

      Ricardo Vieira Lisboa
      May 2022
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      A Long Hard Look at ‘Psycho’ by Raymond Durgnat

      Paulo B. Menezes
      January 2003
      Book Reviews
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    • 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
    • Foraging in a Transforming Mediascape: Cinemas Dark and Slow in Digital India, by Lalitha Gopalan

      Megan Carrigy
      July 2021
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    • … à Valparaiso

      Paulo B. Menezes
      September 2009
      CTEQ Annotations on Film
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    • 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
    • Fritz Lang’s Spione (1928)

      Shari Kizirian
      May 2022
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Author Paulo B. Menezes

Paulo B. Menezes

Paulo B. Menezes was born in Portugal in 1976, he enrolled in Film Studies at the Portuguese national film school, Escola Superior de Teatro & Cinema, where he would obtain a bachelor degree in editing and narrative. His incursions into experimental cinema and video art work began in 2004, with his work being selected for international exhibitions at art galleries and film festivals in countries like Great-Britain, Spain, Germany, Portugal, The Netherlands, Mexico, Peru, France, Brazil, Argentina, Australia, China and Italy. Among them, the 2016 video art piece ‘She got the idea’ which was selected for the Spanish international video art festival Proyector ‘best of’ special program. In 2015 he produced and directed ‘O último guerreiro romântico’, a piece commissioned for theater, and was the subject of the ’10 years video art retrospective’ at Lisbon’s Adamastor Studios art gallery. In 2016 he directed and curated the Lisbon videoart and experimental cinema international exhibition ‘Oblíqua’ curating the first Portuguese anthology ever and featuring experimental work from 7 countries as well as producing several programs representing Portugal in other international exhibitions. In 2018 he premiered ‘Drifters of a shadowy dream’, produced with the support of the Calouste Gulbenkian Foundation, a film that would later win the Maracay International Film & Video Festival (Venezuela) the prize for the Best Experimental Fiction Feature.

Closing the Gap Between Self and Self: A Conversation with Nina Menkes

Paulo B. Menezes
May 2022
Interviews
Tel Aviv, Israel, 2016. It is hotter than it is supposed to according to the weather bulletin. A taxi ride to Jaffa, the old port part of the city, directions written on a small piece of paper in Arabic. Beauti...

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