Pictures of You: Allison Chhorn’s The Plastic House Louise Sheedy July 2020 Feature Articles Early shots of Allison Chhorn’s The Plastic House (2019) tell a grim story. It’s dark. Headlights make a cemetery almost visible through a rained-on w...
“To All Beautiful Losers”: Political Pessimism and the Hong Kong Sports Movie Brian Hu July 2020 Feature Articles This article has been peer-reviewed. In the sports drama Dim ng bou (Weeds on Fire, Chan Chi-fat, 2016), high school principal Lo Kwong-Fai propose...
Being There Without Being There in the Era of COVID-19: A Filmmaker’s Perspective Salvador Carrasco July 2020 Feature Articles Under the current restrictions of lockdown and quarantine, in which we are being asked not to leave our homes, “hands-on filmmaking” has become virtua...
An Ambiguous Gesture: Judith Anderson Turns the Table Murray Pomerance July 2020 Feature Articles Windows or Doors: Doors and Windows John Szarkowski’s 1978 show (and book) Mirrors and Windows: American Photography since 1960 explored the movement...
Ennio Morricone and the Stuff of Cinema Dan Golding July 2020 Feature Articles There are those who write music for the movies, and then there are those whose music reshapes the stuff of cinema. Ennio Morricone, who died in July t...
In Memoriam: Sarah Maldoror (July 19, 1929–April 13, 2020) Masha Shpolberg July 2020 Feature Articles Some filmmakers make their mark with a searing unity of vision. Film after film, they impose their inner landscapes or, perhaps, their unique way of s...
The 21st century plague: Cinema in the age of COVID-19 Wheeler Winston Dixon April 2020 Feature Articles We’ve seen this scenario before, but only in the cinema: a mysterious plague, for which there is no cure, suddenly appears out of nowhere and ravages ...
And Then We Danced: Queer sounds and movement Stuart Richards April 2020 Feature Articles And Then We Danced had its premiere in Georgia on 8th December 2019. I got to first experience this tender film at the Melbourne International Film Fe...
Salò, or the 120 Days of Sodom as Pasolini’s Film on Film Jeremy Carr April 2020 Feature Articles As a scathing indictment of the violence and debauchery revealed during the fascist reign of 1940s Italy, it is unparalleled. As a grotesquely percept...
The Russian Doll and Skripov the Spy: ASIO’s Legal Resident (1963) and Peter Butt’s Final Rendezvous (2020) John Hughes April 2020 Feature Articles Within the archive meaning exists in a state that is both residual and potential. The suggestion of past uses coexists with a plentitude of possibili...
Hitting Rock Bottom: Representing Capital in Late Neoliberal Cinema Jensen Suther April 2020 Feature Articles The winner of this year’s Best Picture award at the Oscars was a South Korean film about class resentment, economic desperation, and the parasitic dep...
American Utopia: Socio-economic Critique and Utopia in American Honey and The Florida Project Jennifer Kirby October 2019 Feature Articles Political cinema frequently conjures the aesthetic and narrative tradition of social realism, while utopia is a concept often associated with genres t...
Intimate Terrains: Contemporary German Cinema, Migration, and the Films of Aysun Bademsoy Joy Castro October 2019 Feature Articles Five excellent new documentaries about refugees screened at the 2018 Berlinale: Ai Weiwei’s Human Flow (2017), Jakob Preuss’s When Paul Came Over the ...
Cinema Never Dies: Abbas Kiarostami’s 24 Frames and The Ontology of the Digital Image James Slaymaker October 2019 Feature Articles 24 Frames, the final feature from master Iranian filmmaker Abbas Kiarostami, grew out of an abandoned project the auteur had been developing in conjun...
Woody Allen: Television as Crisis Alex Munt October 2019 Feature Articles “Renata Adler said television was an appliance rather than an artform.” Woody Allen in Meetin’ WA, Jean-Luc Godard, 1986 It was in high-school that ...
Man Survives Film: On Peter Treherne’s Talking Head Murray Pomerance October 2019 Feature Articles 1 A man is driving a vehicle down a motorway and we are watching him, in profile, from the passenger seat as past his head cars overtake him or spe...
On Paul Schrader’s “Rethinking Transcendental Style” Bruce Hodsdon October 2019 Feature Articles Transcendental style seeks to maximize the mystery of existence; it eschews all conventional interpretations of reality: realism, naturalism, psycholo...
Canan Gerede and the Experiences of a Female Director in 1990s Turkey Pınar Fontini October 2019 Feature Articles This article explores the cinematic journey of Turkish filmmaker Canan Gerede in order to try to understand the experience of being a female director ...
Richard Linklater’s Boyhood and the problem of aging in film Rick Zinman July 2019 Feature Articles Boyhood (Richard Linklater, 2014) is an experimental dramatic film that follows a boy and his family growing up over a 12-year period of time. This de...
A Day at Kitano’s Beach: Sonatine Makes a Fresh Start Kalling Heck July 2019 Feature Articles Upon arriving at the beach house to which he has fled – ostensibly escaping the treacherous warfare that threatened to interrupt his attempts to escap...
Poverty and Women’s Sacrifices in Stella Dallas (1937) and Wendy and Lucy (2008) Brian Brems July 2019 Feature Articles After the institution of the Hollywood Motion Picture Production Code in 1934, the diversity of on-screen opportunities available to female characters...
‘This Thing of Ours’: A Woman’s Place in the Gangster Genre George S. Larke-Walsh and Stephanie Oliver July 2019 Feature Articles The ever-present call for Hollywood to deliver a more diverse range of protagonists has been answered in recent years with some significant developmen...
The subversive phallocentrism of Channing Tatum: A critical analysis of Magic Mike XXL Katie Warfield July 2019 Feature Articles The breadth of depictions of feminine heroes in 2015 films was extensive. We saw butch Charlize Theron in Mad Max: Fury Road (George Miller, 2015), po...
The fluids of Roma: necropolitics and class in Cuarón’s cinematic memoir César Albarrán-Torres March 2019 Feature Articles This article argues that some of the strongest visual and symbolic elements that glue Roma together is the use of fluids as metaphors of racial and cl...
Total Cinema: Or, “What is VR?” Raqi Syed March 2019 Feature Articles In the late 1980s, throughout the ‘90s, and well into the 2000s, MIT Principle Research Scientist, Gloriana Davenport investigated the idea that movie...
“The People Are Missing”: New Refugee Documentaries and Carceral Humanitarianism Joy Castro March 2019 Feature Articles In Cinema 2: The Time-Image, Gilles Deleuze distinguishes between classical political cinema, in which “the people are there, even though they are opp...
Archived Passions, Censored Bodies: Passiflora and the Regulation of Sexuality at the NFB Jonathan Petrychyn and Claudia Sicondolfo March 2019 Feature Articles “With the near simultaneous appearance in Montreal in the summer of 1984 of Michael Jackson and Pope John Paul II, something of a definitive note for ...
After Kubrick (1927-1999): a Cinematic Legacy Jeremi Szaniawski March 2019 Feature Articles “We’re all children of Kubrick, aren’t we? Is there anything you can do that he hasn’t done?” Paul Thomas Anderson Stanley Kubrick (1927-1999) passe...
Four Years of the Nitrate Picture Show, Part 2: The “Silver Screen”, Beautiful Black and White Peter Rist March 2019 Feature Articles In Part 1 of this article, I discussed the history of my own film viewing experiences of cellulose nitrate colour prints. We now move to black and whi...
The Art of Murder: What We Have to Learn from The House That Jack Built Jensen Suther March 2019 Feature Articles I. The reception of Lars von Trier’s The House That Jack Built (2018) has, in effect, rendered the film nearly impossible to watch. Initial press r...
The Sense of Feminism Then and Now: Yours in Sisterhood (2018) and Embodied Listening in the Cinema Praxis of Irene Lusztig D. Andy Rice December 2018 Feature Articles In 1972, Ms. editor Jane O’Reilly coined the term “click!” in an article titled “The Housewife’s Moment of Truth.” “Click,” she said, referred to “tha...
Audience and Performance in Kid Auto Races at Venice Macy Todd December 2018 Feature Articles I. Intro: Where Are We? The film begins with a literal unity of text and image. The opening intertitle promises “Kid Auto Races at Venice, California...
Over-identification in The Castle: Recovering an Australian Classic’s Subversive Edge Matthew J. Mason December 2018 Feature Articles “My name is Dale Kerrigan, and this is my story. Our family lives at 3 Highview Crescent, Coolaroo. Dad bought this place 15 years ago for a steal...
Four Years of the Nitrate Picture Show, Part 1: Beautiful Colour – Tinting and Toning Peter Rist December 2018 Feature Articles The rationale behind the Nitrate Picture Show is that film projection is the goal of film preservation. It is only in a theatre that film curators del...
Post-Human Post-Cinema: The Opening Titles of Westworld Philip Brophy December 2018 Feature Articles Introduction HBO’s Westworld is new, modern, innovative, polyphonic, self-reflexive and existential. Yet it is simultaneously classical, postmodern, ...
Under the Cover of Cloud: An Interview with Ted Wilson and James Vaughan Annabel Brady-Brown December 2018 Feature Articles On the heels of Alena Lodkina’s Strange Colours (2017) and Soda_Jerk’s Terror Nullius (2018) comes Ted Wilson’s Under the Cover of Cloud (2018), the l...
