Book Reviews

A student of literature at Columbia University coming from small-town Ohio, in the 1970s the young Jim Jarmusch embraced New York’s urban culture, bec...

This is a compact, dense, magisterial book. The scholarly coverage and detailed analysis of select sequences from films, television and new media art,...

Allyson Nadia Field’s Uplift Cinema excavates the lost history of African-American filmmaking in the first half of the 1910s, uncovering a surprisingl...

Aspiring filmmakers in Australia and elsewhere stand to learn a lot from John Cumming’s The Films of John Hughes, not least about how to deal with fun...

Given the copious amounts of material already published exploring David Lynch’s artistic landscape, it is not without foundation to wonder what Dennis...

Deathwatch presents a sweeping history of on-screen death, from the silent film era to recent Hollywood blockbusters. Historically, American film has ...

  Imagine a reality where Terrence Malick, possibly one of the brightest philosophical minds of his generation, completes a doctoral dissertat...

Roland Barthes was notorious for his self-proclaimed “resistance” to the cinema. In fact, he hated the medium so much he could only bring himself to g...

In September 1973, 26-year-old Steven Spielberg attended a press conference in Rome to promote his made-for-TV chase thriller, Duel (1971), which had ...

There have been numerous books about the making of a film: from Final Cut, a book detailing the production history of Heaven's Gate (Michael Cimino, 1...

William V. Costanzo’s World Cinema through Global Genres is comprehensive and truly enjoyable. At 431 pages it never becomes dull or opaque, and inste...

For a director who is so indelibly associated with the “body horror” genre, what is often overlooked about David Cronenberg’s film work is the fact th...

Early in Hitchcock Lost and Found (p. 2) Alain Kerzoncuf and Charles Barr note the unique “enthusiasm” that has surrounded the director's films –...

Three recent additions to Caboose’s Kino-Agora series are dedicated to fundamental terms in the history of film theory and criticism: Frank Kess...

In the opening paragraph of their introduction to A Companion to Jean-Luc Godard, Tom Conley and T. Jefferson Kline situate a particular cinephilic re...

Feature image: Stanley Kauffmann, photographed in 1998. Credit: Jack Manning/The New York Times. For admirers of Stanley Kauffmann – chief film criti...

Mr. President, I’m not saying we wouldn’t get our hair mussed. But I do say no more than ten to twenty million killed, tops. Uh, depending on the brea...

In this original and dense cinema study, Dirk de Bruyn redefines the experimental and the avant-garde as “materialist film”, but in a much broader way...

A glance at the title of André Bazin’s New Media might make us think that the writer has been resurrected, but the truth is that, since his death in...

A long, long time ago English film magazines arrived in Melbourne after a journey by boat that often took several months. They could arrive in a rush,...

A disclosure is in order. The author of The Lumière Galaxy – Italian-born, Connecticut-based film studies professor Francesco Casetti – teaches in my ...

In the first decade of the twentieth century, moving images were a ubiquitous popular culture form, a fixture of fairgrounds, vaudeville houses, and e...

Feature image: Star Wars: The Phantom Menace In the final pages of Cinema 2: The Time-Image, published in 1985, Gilles Deleuze concludes by saying, “...

        The Jean Epstein renaissance currently underway has yielded two significant books from both sides of the Atlantic: French historian Joël ...