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    • Heil Darling: a story of lips that haven’t laughed

      Toni Hildebrandt
      January 2022
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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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    • Recovering the Phantom Limb: An Interview with Jennifer Reeder

      Toni Hildebrandt
      March 2019
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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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      Toni Hildebrandt
      April 2020
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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
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      Charles Fairbanks
      January 2022
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      Dan Golding
      July 2021
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      Toni Hildebrandt
      May 2022
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      Wheeler Winston Dixon
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      Jeremy Carr
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      Mark Lager
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      Jessica Balanzategui
      January 2022
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      Toni Hildebrandt
      March 2019
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      Madeleine Collier
      May 2022
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      Tara Judah
      May 2022
    • Absence and Presence at Internationale Kurzfilmtage Oberhausen. 68.

      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
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      Ricardo Vieira Lisboa
      May 2022
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      An Endless Number of Great Deeds: Film Front Weimar: Representations of the First World War in German Films of the Weimar Period (1919-1933) by Bernadette Kester

      Toni Hildebrandt
      April 2004
      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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      Toward an Aesthetic of Displacement in Ana Vaz’s Sacris Pulso

      Toni Hildebrandt
      September 2013
      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 Toni Hildebrandt

Toni Hildebrandt

Toni Hildebrandt is Senior Assistant in the Department of Modern and Contemporary Art History, Institute of Art History, Bern University.

Pasolini

The Profanation of Montage: Pasolini’s Allegorical Death/Cut in the Sequence-Shot

Toni Hildebrandt
December 2015
The Legacy of Pier Paolo Pasolini
“Can the idea of the spiritual innocence of life in the simplicity of character also be formulated collectively in relation to history?” (Eli Friedlander) Profanation and the Guilt History Early on, sacrali...
Film as Theory book review

Godard after Farocki: Questions left open and questions unasked in Volker Pantenburg’s Film as Theory

Toni Hildebrandt
June 2015
Book Reviews
“With Godard, and with Brecht, it seems to me as if they had only proclaimed a method, without having begun to work with it. In fact, even Godard issues empty proclamations, namely: this is how film could expre...

Corpi e luoghi: Harun Farocki on Pasolini

Toni Hildebrandt
December 2014
Feature Articles
“Do you really know who I was before I met you?” (1) I met Harun Farocki in June 2014 at Princeton. Bernhard Siegert and Nikolaus Wegmann had organised a Summer School in the German Department. (2) In among th...

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