Minnie and Moskowitz Jeremy Carr March 2018 CTEQ Annotations on Film On the surface, the relationship between Minnie Moore (Gena Rowlands) and Seymour Moskowitz (Seymour Cassel) doesn’t seem like a normal romantic engag...
Husbands Darragh O’Donoghue March 2018 CTEQ Annotations on Film It is tempting to see the title characters in Husbands (1970) as older versions of the trio in John Cassavetes’ breakthrough film, Shadows (1959) – ai...
Peeping Tom Peter Wilshire March 2018 CTEQ Annotations on Film Peeping Tom (1960 UK 101 mins) Source: Potential Films Prod Co: Michael Powell (Theatre) Prod, Dir: Michael Powell Scr: Leo Marks Phot: Otto Heller...
“Sudden Changes in the Weather”: Symptoms (José Ramón Larraz, 1974) Alexandra Heller-Nicholas March 2018 CTEQ Annotations on Film Catalan filmmaker José Ramón Larraz’s psychological horror film Symptoms – a UK production – was the British entry at the Cannes Film Festival in 1974...
The Eye Boundary: Repulsion Didier Truffot March 2018 CTEQ Annotations on Film Translated by Angélique Tavormina Repulsion (1965 UK 105 mins) Source: Sharmill Films Prod Co: Compton Films Prod: Gene Gutowski Dir: Roman Pola...
The Bride Wore Black (François Truffaut, 1968) Martyn Bamber March 2018 CTEQ Annotations on Film Made during the period of François Truffaut’s fascination with Alfred Hitchcock, the French auteur’s La mariée était en noir (The Bride Wore Black, 19...
Shoot the Piano Player (François Truffaut, 1960): “A Respectful Pastiche” Wheeler Winston Dixon March 2018 CTEQ Annotations on Film François Truffaut’s second feature film after his career-defining debut Les quatre cents coups (The 400 Blows, 1959), Tirez sur le pianiste (Shoot the...
La Peau douce Dan Harper March 2018 CTEQ Annotations on Film La Peau douce (1964 France 113 mins) Source: NLA/ACMI Prod Co: Les Films du Carrosse/SEDIF/SIMAR Dir: François Truffaut Scr: François Truffaut, Jea...
Fahrenheit 451 Laura Carroll March 2018 CTEQ Annotations on Film Fahrenheit 451 (1966 Britain 111 mins) Source: NFVLS Prod Co: Anglo Enterprises/Vineyard Prod: Lewis M. Allen Dir: François Truffaut Scr: François ...
The Wild Child (François Truffaut, 1970) Brad Weismann March 2018 CTEQ Annotations on Film “As I saw it, the essential task in this was not to do the directing, but to attend to the child.” – François Truffaut, introduction to The Wild Child...
“From the first bottle to the first kiss”: François Truffaut’s Small Change (1976) Danica van de Velde March 2018 CTEQ Annotations on Film Arguably one of the most enduring images in the cinema of François Truffaut is the freeze frame that concludes his first feature-length film, Les quat...
Olivia (Jacqueline Audry, 1951) Eloise Ross March 2018 CTEQ Annotations on Film Published pseudonymously in 1949 under the author name ‘Olivia’, Dorothy Bussy’s novel Olivia was likely written thanks to the influence of the 1931 G...
The Battle of Algiers (Gillo Pontecorvo, 1966) Darragh O’Donoghue March 2018 CTEQ Annotations on Film Oliver Cromwell was the 17th century leader of the English Parliamentarians who overthrew and beheaded a monarch and instituted a short-lived republic...
Get Out of the Car (Thom Andersen, 2010) Conor Bateman March 2018 CTEQ Annotations on Film They say we are living in a time of the eternal present, that has no sense of the past and no sense of the future. There is some truth to that.” - Tho...
Architecture as Mirage: Thom Andersen’s Los Angeles Plays Itself (2003) José Sarmiento-Hinojosa March 2018 CTEQ Annotations on Film In cinema, the camera is the dispositif, or the manifestation of phantasmagoria. It’s a relatively mechanical presentation of the Plato’s cave allegor...
Naked Came the Stranger: Eadweard Muybridge, Zoopraxographer (Thom Andersen, 1975) Joseph Sgammato March 2018 CTEQ Annotations on Film University courses on the history of film often begin with the photographic experiments of Eadweard Muybridge, most famously the 1878 sequence of stil...
Rehabilitating the Hollywood Left in Thom Andersen and Noël Burch’s Red Hollywood (1996/2014) Sandra E. Lim March 2018 CTEQ Annotations on Film In the opening titles, Red Hollywood (Tom Andersen and Noël Burch, 1996/2014) declares itself a compilation film. Compilation films are a form of hist...
Inside the outsider’s skin: Montgomery Clift in A Place in the Sun (1951) Joanna Di Mattia March 2018 CTEQ Annotations on Film George Stevens helmed a U.S. Army film unit for much of the Second World War. He recorded the D-Day landings, the liberation of Paris and, most import...
Red River Adrian Miles March 2018 CTEQ Annotations on Film Red River (1948 USA 127 mins) Source: CAC/NLA Prod Co: Monterey/United Artists Prod, Dir: Howard Hawks Scr: Borden Chase, Charles Schnee Ph: Russel...
The Turning of the Earth: Elia Kazan’s Wild River Adrian Danks March 2018 CTEQ Annotations on Film Although Elia Kazan is most well known for films such as A Streetcar Named Desire (1951), On the Waterfront (1954) and East of Eden (1955) that featur...
I Confess Ken Mogg March 2018 CTEQ Annotations on Film I Confess (1953 USA 95mins) Source: CAC Prod Co: Warner Brothers -First National Prod, Dir: Alfred Hitchcock Scr: George Tabori, William Archibald ...
Miss Oyu (Kenji Mizoguchi, 1951) Darragh O’Donoghue March 2018 CTEQ Annotations on Film Kenji Mizoguchi’s Miss Oyu suffocates in the aura of high art and good taste. Based on a novella by Japan’s most revered 20th century writer, it featu...
Kinuyo Tanaka’s The Eternal Breasts (1955) Gwendolyn Audrey Foster March 2018 CTEQ Annotations on Film Based on the life story of tanka poet Fumiko Nakajo (1922–1954), Kinuyo Tanaka’s Chibusa yo eien nare (The Eternal Breasts, 1955) is a remarkably femi...
Equinox Flower Michael Koller March 2018 CTEQ Annotations on Film Equinox Flower (1958 Japan 118mins) Source: NLA/CAC Prod Co: Shochiku Dir: Yasujiro Ozu Scr: Ozu, Kogo Noda from the novel by Ton Satomi Phot: Yuha...
An Angel at My Table (Jane Campion, 1990) Isabella McNeill September 2017 CTEQ Annotations on Film Tackling the often-troublesome act of linking ‘the artist’ with unstable mental health is not a unique notion in art or life, but Jane Campion’s An An...
In the Cut (Jane Campion, 2003) David Evan Richard September 2017 CTEQ Annotations on Film Glossing Jane Campion’s narrative, thematic, and aesthetic interests, Kathleen McHugh writes that in “crafting visual stories drawn from genres that a...
The Matroyshka Doll of Laughter and Uncertainty: Cristi Puiu’s Sieranevada (2016) José Sarmiento-Hinojosa September 2017 CTEQ Annotations on Film In his previous, massively underrated and virtually unseen film Trois exercices d’interprétation (Three Exercises of Interpretation, 2013), Cristi Pui...
An Exercise in Discipline: Peel (Jane Campion, 1982) Faith Everard September 2017 CTEQ Annotations on Film “This was my first film. I knew these people who all had red hair and were part of the family. They were also alike in character, extreme and stubbo...
The Heart Asks Pleasure First: Economies of Touch and Desire in Jane Campion’s The Piano (1993) Joanna Di Mattia September 2017 CTEQ Annotations on Film Touch creates its own language. In The Piano (1993), Jane Campion’s gorgeous, Gothic romance, it speaks multiple dialects. Campion gives us access to ...
Bright Star (Jane Campion, 2009) Holly Willis September 2017 CTEQ Annotations on Film Over a black screen, birds chirp in the near distance. The dulcet chords of a cello begin to sound, embellished by a woman’s voice moving joyfully thr...
Girlhood in Reverse – Jane Campion’s 2 Friends (1986) Gwendolyn Audrey Foster September 2017 CTEQ Annotations on Film Fearless, ruthlessly economical and deeply felt, 2 Friends (1986), Jane Campion’s first feature – actually made for Australian television, and clockin...
Work-for-Hire Juvenilia: After Hours (Jane Campion, 1984) Ben Kooyman September 2017 CTEQ Annotations on Film Jane Campion’s After Hours (1984) was developed in partnership with the Women’s Film Unit of Film Australia. This is a virtually forgotten entry in Ca...
The Water Diary (Jane Campion, 2006) Jytte Holmqvist September 2017 CTEQ Annotations on Film Acclaimed Wellington-born New Zealand filmmaker Dame Jane Campion once stated that she “would love to see more women directors because they represent ...
Between Innocence and Adulthood: Telling A Girl’s Own Story (Jane Campion, 1983) Nathan Senn September 2017 CTEQ Annotations on Film Jane Campion’s final student film made at the Australian Film & Television School (now called the Australian Film, Television and Radio School), A...
Passionless Moments (Jane Campion, 1984) Tanya Farley September 2017 CTEQ Annotations on Film There are one million moments in your neighbourhood, but as the filmmakers discovered, each has a fragile presence which fades almost as it forms. ...
The Death of Mr. Lazarescu (Cristi Puiu, 2005) Rahul Hamid September 2017 CTEQ Annotations on Film Cristi Puiu’s first feature, The Death of Mr. Lazarescu, put the Romanian New Wave on the international map, winning Cannes’ Un Certain Regard prize i...