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    • On the Subjective Æsthetic of Adrian Lyne’s Lolita

      Virginia Wright Wexman
      September 2009
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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
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      Dirk de Bruyn
      January 2023
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      Virginia Wright Wexman
      January 2022
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      Tara Judah
      January 2023
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      Toby Wu
      January 2023
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      Maria Giovanna Vagenas
      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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      Virginia Wright Wexman
      September 2013
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      Sherry Johnson
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      Giampiero Frasca
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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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      Virginia Wright Wexman
      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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      Jessica Balanzategui
      January 2022
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      Vancouver 2016: The Daughters Generation

      Virginia Wright Wexman
      March 2017
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    • Fire Within: The 60th Viennale

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

      Glenn D'Cruz
      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
    • BABY, THE RAIN MUST FALL … on the Claude Sautet retrospective at the 70th San Sebastian International Film Festival

      Neil Young
      January 2023
    • Small but Mighty, the Power of the Donkey: Adelaide International Film Festival

      Saige Walton
      January 2023
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      Cultural Interfaces and the Aesthetics of (Dis)continuity - A Review of Lev Manovich's The Language of New Media

      Virginia Wright Wexman
      March 2002
      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
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      Dreaming in Words: Gertrud

      Virginia Wright Wexman
      May 2008
      CTEQ Annotations on Film
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    • I Remember: Amarcord (Federico Fellini, 1973)

      Jacob Agius
      February 2023
    • 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
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Author Virginia Wright Wexman

Virginia Wright Wexman

Virginia Wright Wexman’s book Hollywood’s Artists: The Directors Guild of America and the Construction of Authorship will be published by Columbia University Press in 2020.

Why Aren’t There More Women Directors in Hollywood—Even in 2019?

Virginia Wright Wexman
October 2019
This is what defined cinema in the 2010s
The 2018 documentary This Changes Everything (Tom Donahue) describes the way in which women in Hollywood continue to be shut out of opportunities for directing. A look at some of the data around this issue conf...
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CineSuspense: Le Giornate del Cinema Muto: The 26th Pordenone Silent Film Festival

Virginia Wright Wexman
March 2008
Festival Reports
6-13 October 2007 Many of us who gathered in Pordenone this October for its annual festival of silent films, Le Giornate del Cinema Muto, arrived with nervous questions about whether the newly rebuil...
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Transcendental Style in 2007: The 31st Hong Kong International Film Festival

Virginia Wright Wexman
August 2007
Festival Reports
20 March - 4 April 2007 Much of what I saw at this year’s Hong Kong International Film Festival gave new relevance to Paul Schrader’s 1972 book Transcendental Style in Film. (1) Schrader focused on the w...
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Womanising: The 20th Cinema Ritrovato

Virginia Wright Wexman
November 2006
Festival Reports
1-9 July, 2006 Bologna’s Cinema Ritrovato stands alone among the world’s film festivals for the quality and breadth of classic and little-known titles it presents. A third of its offerings are drawn from...

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