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    • The Angels’ Share: Ken Loach and Paul Laverty Lift Scotland’s Kilts to Expose Its Darker Parts

      Shannon Scott
      March 2013
      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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      Shannon Scott
      July 2021
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      Tara Judah
      January 2023
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      Maria Giovanna Vagenas
      January 2023
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      Toby Wu
      January 2023
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      David A. Gerstner
      January 2023
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      Arindam Sen
      January 2023
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      Hamed Sarrafi
      January 2023
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    • Clarke, Shirley

      Shannon Scott
      December 2012
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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
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      Sanya Osha
      May 2022
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      Shannon Scott
      May 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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      Jessica Balanzategui
      January 2022
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    • The (Past and) Future of an Illusion: The 29th Vancouver International Film Festival

      Shannon Scott
      December 2010
      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
  • Book Reviews
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      Mining the Home Movie: Excavations in Histories and Memories edited by Karen L. Ishizuka and Patricia R. Zimmermann

      Shannon Scott
      February 2009
      Book Reviews
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    • For a Double-Edged Theory: Christian Metz’ 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
    Random
    • An Angel at my table

      An Angel at My Table (Jane Campion, 1990)

      Shannon Scott
      September 2017
      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 Shannon Scott

Shannon Scott

SShannon Scott is a Professor of English and Film at the University of St. Thomas and Hamline University. She has published articles and book reviews in various academic publications, book collections, and newspapers, including Film & History, Screen Bodies, and Alphaville: A Journal of Film and Screen Media.

Hidden Faces, Hidden Identities: Masks in Horror Cinema: Eyes without Faces, by Alexandra Heller-Nicholas

Shannon Scott
July 2020
Book Reviews
Alexandra Heller-Nicholas’ Masks in Horror Cinema does not begin like a horror film, at least not in the sense of an attention-grabbing opening scene or, in this case, an introduction; instead, Heller-Nicholas’...

Road Trip Through A Cinematically-Constructed America: The Imaginary Geography of Hollywood Cinema, 1960-2000 by Christian B. Long

Shannon Scott
June 2018
Book Reviews
For film scholars interested in the narrative settings of cinema examined through a “cultural materialist approach to film history” (p. 4), combined with digital cartography, Christian B. Long’s The Imaginary G...
Lacan and Film Noir

Actively Retroactive: On the Couch with Film Noir: Out of the Past: Lacan and Film Noir by Ben Tyrer

Shannon Scott
June 2017
Book Reviews
Ben Tyrer’s Out of the Past: Lacan and Film Noir forms a “Borromean Knot” of Lacanian film theory, Freudian psychoanalysis, and film noir, which makes for an occasionally tangled text. Although Out of the Past ...

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