Astro Noise: Unsettling Encounters, or The Finer Points of Whistle Blowing Pamela Cohn December 2014 Feature Articles Technical issues and social justice are tied together when we talk about mass surveillance. Cryptography – that is, mathematics and computer science –...
Stray Images, Inside-Outside: On Tsai Ming Liang’s Stray Dogs Yvette Biro October 2014 Feature Articles Tsai Ming Liang’s lastest film, Jiao you (Stray Dogs), winner of the Venice Film Festival’s Grand Jury Prize (2013),was made after a long period of si...
Pump and Dump: The Wolf of Wall Street Marko Bauer October 2014 Feature Articles The Wolf of Wall Street (Martin Scorsese, 2013) is a repulsive affair. A hybrid of Wall Street (Oliver Stone, 1987) and American Pie (Chris and Paul W...
Alain Robbe-Grillet:Teasing the Real Tony McKibbin October 2014 Feature Articles In the DVD extras to the new BFI Alain Robbe-Grillet box set, the interviewer Frédéric Taddeï asks the novelist and filmmaker what it felt like filmin...
Alain Robbe-Grillet and the Nouveau Roman: An Interview Rolando Caputo October 2014 Feature Articles In 1986 Alain Robbe-Grillet, accompanied by his wife Catherine, visited Australia as guest of the cultural institute Alliance Francaise to give a seri...
The Free Mind of a Man in Captivity: 12 Years A Slave, Book and Film Daniel Garrett October 2014 Feature Articles There were the highest expectations for the film 12 Years a Slave (2013), the motion picture about the enslavement of Africans in America by the black...
Cinema, Race and the Zeitgeist: On Pulp Fiction Twenty Years Later Michael Green October 2014 Feature Articles Prologue For many in Generation X, there is the time before Pulp Fiction (1994) and there is the time after Pulp Fiction. The shift in consciousness ...
“There is Nothing to Carry Sound”: Defamiliarisation and Reported Realism in Gravity Stuart Bender July 2014 Feature Articles Although it is arguably unrealistic, one of the conventions of science fiction cinema is the presence of sound in the vacuum of space, for instance th...
La Distancia and the Magic of Cinema: An Interview with Sergio Caballero Daniel Fairfax June 2014 Feature Articles After winning a Tiger Award at the 2011 Rotterdam film festival, Sergio Caballero’s sui generis feature debut Finisterrae, with its tale of two ghosts...
Lights, Camera, Melodrama: The Role of Lighting in The Cloud Capped Star Bonnie Fan June 2014 Feature Articles André Bazin’s discussion of neorealism in “An Aesthetic of Reality: Neorealism” (1) brings forth an interesting contrast between two different directi...
The Long Take as a Reaction to the Past in Contemporary Romanian Cinema Sam Littman June 2014 Feature Articles In 2007, Romania capped a startling four-year streak of major victories on international cinema’s grandest and most controversial stage, the Cannes Fi...
The Perils of Fantasy: Memory and Desire in David Lynch’s Mulholland Drive Clint Stivers June 2014 Feature Articles WOOOOSH – Zoom deep into blackness. Thump. A metallic blue box drops to the carpet: this sequence, nearly two hours into David Lynch’s Mulholland D...
“#Hashtag: Hunger Games Catches Fire, Audience Entertained” Joseph Natoli June 2014 Feature Articles "The risk of a drift toward oligarchy is real and gives little reason for optimism." Thomas Piketty (1) "So what do you think, now that the whole ...
Down and Out in Helsinki and Tokyo: Aki Kaurismäki and Akira Kurosawa’s Humanist Tales Marc Saint-Cyr June 2014 Feature Articles Of all the evils that have challenged and tormented humanity throughout the long road of history, poverty is among the most terrible. The degree to wh...
Focalisation Realism and Narrative Asymmetry in Alfonso Cuarón’s Children of Men Ben Ogrodnik June 2014 Feature Articles In the very beginning of Alfonso Cuarón’s Children of Men (2006), before we are introduced to characters or any images, what we first experience as an...
Tarrying With the Nothing: Asking Anew Heidegger’s Question of Being in the cinema of Bela Tarr Tan Xing Long Ian June 2014 Feature Articles Martin Heidegger begins Being and Time with a question that seeks, in its very repetition, to return philosophical questioning to its foundation: “Do ...
Making a Film Federico Fellini March 2014 Feature Articles Translator’s Preface Federico Fellini Federico Fellini’s Fare un film (1980) is the most comprehensive collection of the idiosyncratic Italian di...
The “Squaw Man” Western Susan E. Linville March 2014 Feature Articles “All my life I’ve been mostly alone. I wanted it that way. But then when I saw you in the wikiup, and you touched me, and you prayed for me, I felt ba...
Pablo Berger’s Blancanieves and Modern Spain Jorge Latorre March 2014 Feature Articles he history of Spanish art features many courageous people. I am always championing it because it is very difficult to see. he value of Italian art is ...
Middle-of-the-Road Absurdism: The Cinema of Dutch Director Alex van Warmerdam Peter Verstraten March 2014 Feature Articles Practically all published items on Borgman (2013), no matter how tiny, mentioned the fact that this was the first Dutch film to enter the Cannes main ...
The Adaptation and the Remake: From John M. Stahl’s When Tomorrow Comes to Douglas Sirk’s Interlude Tom Ryan March 2014 Feature Articles Raising Cain: Setting the Record Straight Douglas Sirk shot Interlude in 1956, between Battle Hymn and The Tarnished Angels. Starring June Allyson an...
Cultural and Political Exhaustion in Paolo Sorrentino’s The Great Beauty Carlotta Fonzi Kliemann March 2014 Feature Articles Upon watching La grande bellezza (The Great Beauty, 2013) by Paolo Sorrentino, the first two surfacing feelings are: what a stunning piece of work, an...
On Watching Movies in Planes: Diary of an International Flight Daniel Fairfax March 2014 Feature Articles Thursday, October 3 20:30 (AEST), Melbourne Airport My flight leaves in less than an hour. Boarding has begun, but my zone has not yet been called....
Uncanny, Haptic Encounters and the Importance of Play: An Interview with Josephine Decker, Filmmaker Brigitta Wagner March 2014 Feature Articles Not all actors are filmmakers, and not all filmmakers can act. And certainly not all actor-filmmakers walk in slow motion in Times Square with cans of...
Captain Phillips: Colliding with the Real Joseph Natoli December 2013 Feature Articles "One of the most remarkable things about us is also one of the easiest to overlook: each time we collide with the real, we deepen our understanding of...
When Korine Filmed Culkin:(Dis)placing the Child Star in Sunday Jacques de Villiers December 2013 Feature Articles In a style that suits the brashness of its auteur subject, I would like to get straight to the point: Harmony Korine is a filmmaker obsessed with the ...
“Everything is dead but the motor still turns”: An Interview with Albert Serra Daniel Fairfax December 2013 Feature Articles Albert Serra It was with some trepidation that I watched Catalonian director Albert Serra’s Historia de la meva mort (The Story of My Death) at th...
Three Films by Roberto Rossellini Starring Ingrid Bergman: The Criterion Edition of Stromboli, Europe ’51 and Journey to Italy Greg Gerke December 2013 Feature Articles How did Italian cinema manage to become so big when from Rossellini to Visconti and from Antonioni to Fellini, no one recorded sound with images? A ...
Memory’s Chorus: Stories We Tell and Sarah Polley’s Theory of Autobiography Leah Anderst December 2013 Feature Articles Fig 1. Sarah Polley filming with a Super 8 camera in Stories We Tell Near the beginning of Sarah Polley’s newest film, Stories We Tell (2012), an ...
Animation Diagnostics: Power and the Loop J. Ronald Green December 2013 Feature Articles The structural filmmakers—such as Peter Kubelka, Kurt Kren, Tony Conrad, Bruce Conner, George Landow, Paul Sharits, Birgit and Wilhelm Hein, Ken Jacob...
Reasoned Arguments: A Conversation with Frederick Wiseman about At Berkeley Darren Hughes December 2013 Feature Articles Frederick Wiseman’s second documentary, High School (1968), was at the time of its release an unprecedented glimpse into America’s public education sy...
Ethics in the Immersive Documentary John Dentino December 2013 Feature Articles An elderly Cajun recalls his life spent in the Louisiana bayous for decades as he has struggled to survive on the meager income of a crabber and oyste...
Tokyo 1969: Revolutionary Image Thieves in a Disintegrating City Stephen Barber December 2013 Feature Articles Tokyo's period of acute urban unrest extended across the 1960s, beginning with widespread rioting, and demonstrations around the parliament building, ...
The Complete Rohmer Bruce Perkins December 2013 Feature Articles Potemkine films have rendered all Eric Rohmer admirers a great service. Their “Eric Rohmer, L'intégrale” is a remarkable attempt to assemble as compl...
Film as Art and Art as Film: The Cinematic Concept in Isa Genzken’s Art Practice Toby Ashraf December 2013 Feature Articles It is quite unusual to see Isa Genzken naked. In Zwei Frauen im Gefecht (Two Women in Combat, 1972) the artist takes her clothes off all the time. In ...
Another Look at Germaine Dulac’s The Seashell and the Clergyman Maryann De Julio December 2013 Feature Articles As a director and theoretician of experimental film, Germaine Dulac proclaimed her goal to make “pure” cinema, which she spoke of as “musically constr...