Book Reviews

This third edition by Dr Karen Pearlman, entitled Cutting Rhythms: Creative Film Editing, marks an important revaluing of intuition as an overarching ...

Kartik Nair’s Seeing Things: Spectral Materialities of Bombay Horror begins with a beautiful mistake. In the Ramsay Brothers’ Bandh Darwaza (Shyam Ram...

In the suffocating, sanitized corridors of contemporary media, where slick, over-produced corporate content passes for art, the arrival of Duncan Reek...

Stephen Gundle’s critical undertaking on the establishment of postwar Italian film stardom is more than just biographical: it is cross-disciplinary be...

In Long Take, Akira Kurosawa says he doesn’t think that films should be seen as having “must-see” points. Instead, “each person has elements that they...

In The Cinematic Body, Steven Shaviro writes that:  here is no structuring lack, no primordial division, but a continuity between the physiological a...

Ladies can laugh at the pleasures of the world, but not too much. It might kill them. In Death by Laughter: Female Hysteria and Early Cinema (2024), t...

The latest book by Canadian scholar Kim Nelson, Making History Move: Five Principles of the Historical Film, proposes a novel and systematic approach ...

A few years ago, Senses of Cinema became an internationally produced journal with editors beyond Australia. This partially changed the scope of sights...

“To put it bluntly, Scotland is, on the filmmaking front, a third world country, but this is tragically misrecognised by those holding the purse strin...

It is rarely a compliment to be described as “exotic.” Exoticism is rarely a question of self-identification. To be exotic implies isolation from the ...

Good writing about cinema emerges from the critic’s particular experience of viewing a film that they seek to sustain and preserve, writing so as to e...

Phillip Lopate is an American author of essays, fiction, and film criticism. He is a former Professor in the Writing Program at Columbia University Sc...

Southeast Asian cinemas have been historically marginalised within global screen culture. Wedged between dominant cinemas from the United States, Indi...

Bring up the topic of the French New Wave in the late 1950s and early 1960s in a discussion, and Truffaut, Godard, Chabrol, Rivette and other male dir...

In an interview from 1967, filmmaker and writer Marguerite Duras stated, “I don’t think a film is ever capable of replacing the private relationship a...

Reverse Shot is a magazine that has for the last twenty years hazardously found for itself a place between the journalistic review and the academic es...

Figure, Body, Figurative Invention, Cinema: As a young researcher, theorist, film critic, and associate professor (maître de conférences), Nicole Bren...

“…photography is as important to us as fighting because it disseminates our image to the world.” - Abu Jihad The Palestine Film Unit was a filmma...

In her entertaining and thoroughly engaging whistle-stop tour through 20th century popular film and TV narratives, film critic and journalist Ellen E....

Across its 600-plus pages, Foster Hirsch’s ambitious account of Hollywood and the films made there during the 1950s covers the terrain with comprehens...

In recent decades, a burgeoning scholarly attention has turned to how documentaries problematise the private through the reworking of amateur films. B...

There is often something intangible about the cinematic images we regard onscreen that continually inspires our curiosity, attention, and seemingly en...

When he was seven, Paul Thomas Anderson wrote in his diary, “I want to be a writer, producer, director, special effects man. I know how to do everythi...