Streaming paracinema: Charles Band, Full Moon Features and auteurism on third tier SVOD services Andrew Lynch and Alexa Scarlata January 2022 Feature Articles This article was peer reviewed. Introduction On the periphery of the loud and attention-hoarding “streaming wars” playing out between the likes of ...
The Cry: Cinema, Sentiment, Minnelli Murray Pomerance January 2022 Feature Articles The European Magazine for January, 1783, describes as fashionable: Elliott’s Red-Hot Bullets and The Smoke of the Camp of St. Roche. It is manifestly ...
Loss and Absence in Still Life Yiju Huang January 2022 Feature Articles I am most desperate when the shooting is going well. I don’t get anxious when the shooting is not going well, because…it is precisely when I know I am...
Jacob Holdt’s American Pictures: A Note on Style in Poor Cinema J. Ronald Green January 2022 Feature Articles Who says that fictions only and false hair Become a verse? Is there in truth no beauty? - George Herbert, Jordan (I), c. 1633 In connection wit...
Looking for Truth: Elia Kazan’s East of Eden and post-Korean War America Mary Hamer January 2022 Feature Articles The talk at the supermarket checkout was all of Sam Mendes’ film 1917 (2019). It had picked up three Oscars, just the night before. “Why it did, I...
The Journey: Peter Watkins’s Polyphonic Plea for Humanity Jacob Hovind January 2022 Feature Articles Famed in increasingly small cinephiliac circles as one of the great firebrands of film history, Peter Watkins’s singular reputation rests on his unaba...
No Exit: Monte Hellman’s The Shooting Anand Sudha January 2022 Feature Articles From one angle, as Phillip Strick’s Sight and Sound review pointed out, The Shooting (Monte Hellman,1966) can be viewed as a classic revenge Western w...
After the Storm: National Cinema in Myanmar Krathyn White January 2022 Feature Articles Prior to the military coup in Myanmar on 1 February 2021, a new wave of fiercely independent productions emerged to challenge the political and social...
The Hired Hand: Peter Fonda’s Mystical, Poetic Western 50 Years Later Mark Lager January 2022 Feature Articles As Bruce Langhorne (who composed the music for Peter Fonda’s directorial debut The Hired Hand) said, “Nobody at Universal knew what to do with it. The...
Bigger than life, or stranger: Pedro Costa’s Vitalina Varela: Part I Thomas Austin January 2022 Feature Articles Vitalina Varela (2019) is the seventh feature film by the Portuguese director Pedro Costa. It tells the true story of a woman from Cape Verde who trav...
Hard Times are Over: Saidin Salkic’s The Last Days of Loneliness Fiona Villella January 2022 Feature Articles Over the last couple of years, the pandemic has forced us to consider the impact of loneliness and to consider just how important others are in our li...
Occupied Territory and Abolitionist Freeze Frames: Haile Gerima’s Bush Mama David Grundy July 2021 Feature Articles A matter of miles from Hollywood but a world away lies Watts, Los Angeles. As Thom Andersen observes in Los Angeles Plays Itself (2003): “The 1965 Wat...
