Bringing the War Back Home: An Interview with Jonathan Teplitzky on The Railway Man Tom Ryan December 2013 Feature Articles Jonathan Teplitzky. Photo: Debi Enker A $16 million Australia-UK co-production, Jonathan Teplitzky’s The Railway Man tells the story of Second Lie...
Aesthetic Nationalism in English-Canadian Cinema William Beard December 2013 Feature Articles “The question of national cinema has been ultimately one of aesthetics and taste.” –Charles Acland (1) “It is something of a challenge...to think a...
Abel Ferrara: Filming (on) the Wild Side (of New York) Philippe Met September 2013 Feature Articles “ New York City is the place where they said Hey babe, take a walk on the wild side ” –Lou Reed, Walk on the Wild Side, 1972 Irrespective of his st...
Nick’s Movies Blaine Allan September 2013 Feature Articles Jonathan Rosenbaum recently offered some useful, brief observations on two versions of Nicholas Ray’s last film, a collaboration with Wim Wenders. (1)...
Gazes of Evasion: Simon Curtis’ My Week with Marilyn Sarah Pines September 2013 Feature Articles Is there really nothing in Simon Curtis’ film My Week with Marilyn (2011) that we did not know already about Marilyn Monroe? Apart from Michelle Willi...
The Ethics of the ‘Listening Eye’: Exploring the Critical Excesses of Iranian ‘Social Films’ Keyvan Manafi September 2013 Feature Articles ‘Social films’ (Film-e ejtema'i), understood in Iranian film reviews and journalistic discourse as socio-politically committed films characterized by ...
Urban Modernity and Fluctuating Time: “Catching the Tempo” of the 1920s City Symphony Films Sarah Jilani September 2013 Feature Articles Writing in 1926, Virginia Woolf expressed a certain suspicion that, if anywhere, "the past could be unrolled, distances annihilated in the chaos of t...
Renegotiating Romanticism and the All-American Boy Child: Alfred Hitchcock’s The Trouble with Harry Adrian Schober September 2013 Feature Articles, Uncategorized In the unusual opening credits for Alfred Hitchcock’s The Trouble with Harry (1955), the camera tracks from left to right over primitive, cartoon-like...
The Ideal Candidate: Solaris as Philosophical Riddle Box Derek Dubois September 2013 Feature Articles Well-reviewed in its time, Steven Soderbergh’s 2002 film Solaris placed a paltry 124th on the US box office for the year and its total gross amounted ...
24 Tweets Per Second: A Dialogue on Jorge Lorenzo’s On the Road by Jack Kerouac Dirk de Bruyn and Steven McIntyre September 2013 Feature Articles Jorge Lorenzo Flores Garza’s On the Road by Jack Kerouac had its Australian premiere in July this year at the Walker Street Gallery in Melbourne. It s...
Crime Scenes in Suburbia Jason Coyle September 2013 Feature Articles In The Poetics of Space, Gaston Bachelard describes enclosed light viewed from a distance as an image of refuge for those who have been travelling. Th...
Jewish Streetscapes: Ken Jacobs in Lower Manhattan Federico Windhausen September 2013 Feature Articles Tightly knit and momentarily coherent within its own perimeter, the Lower East Side nevertheless represented an experiment in collective rootlessness,...
Cinematic Scar Tissue: An Interview with Joshua Oppenheimer on The Act of Killing Dan Edwards September 2013 Feature Articles Surreal, sickening and profoundly disturbing – The Act of Killing (2012) may not be easy to watch, but it has turned the documentary form on its head....
A Tribute to Jonathan (Jono) Dawson Adrian Danks September 2013 Feature Articles At the end of Orson Welles’ Touch of Evil (1958), Marlene Dietrich’s Tana wearily intones an epitaph for Orson Welles’ Hank Quinlan, a bloated, corrup...
“So Have Things Gone”: A Place Beyond the Pines Joseph Natoli July 2013 Feature Articles "Life is short, art long, opportunity fleeting, experience treacherous, judgment difficult." –Hippocrates Manifold are thy shapings, Providence! Ma...
‘When Ordinary Seeing Fails’: Reclaiming the Art of Documentary in Michelangelo Antonioni’s 1972 China Film Chung Kuo Alice Xiang July 2013 Feature Articles Introduction and Context: (Up)Setting the Stage “It was the mid-1970s,” reminisces a Chinese blogger, writing over three decades later in November 20...
Chantal Akerman’s Là-bas: The Suspended Image and the Politics of Anti-Messianism Chrysanthi Nigianni July 2013 Feature Articles It is this double exigency-recognition of the closure of the political and practical deprivation of philosophy as regards itself and its own authority...
Creativity Beyond Originality: György Pálfi’s Final Cut as Narrative Supercut Miklós Kiss July 2013 Feature Articles György Pálfi’s Final Cut – Ladies & Gentlemen (2012) is a movie made out of other movies, literally. It is YouTube’s beloved film mashups and supe...
Westward Wellman Josh Anderson July 2013 Feature Articles William A. Wellman enjoyed pushing buttons. His cinema bears the mark of a man careening through life, ripping the extraneous bits off and plastering ...
The Strange Object of the Voice: A Bad Lip Reading Mats Carlsson July 2013 Feature Articles Michel Chion starts his book The Voice in Cinema by asking what is left, if we eliminate everything that is not the voice itself; in this short text w...
The Appearance of Appearance: Absolute Truth in Abbas Kiarostami’s ABC Africa Mathew Abbott July 2013 Feature Articles In Ten on Ten, a 2004 documentary featuring ten short scenes in which Abbas Kiarostami speaks in a car on his work in filming 2001’s Ten, itself a ten...
The Porterfield Touch: An Interview with Matthew Porterfield Brigitta Wagner July 2013 Feature Articles When can a filmmaker be said to have ‘a touch’? Ernst Lubitsch had a touch, but what exactly was this? A penchant for comic timing, for finding just t...
Assaulting Wall Street Pour la Beauté du Geste Celluloid Liberation Front July 2013 Feature Articles “I don’t initiate violence, I retaliate.” –Chuck Norris Plot Synopsis (major spoiler alert): Jim (Dominic Purcell) is the kind of working class dude...
Ageing and Memory in Agnès Varda’s Les plages d’Agnès Maryann De Julio July 2013 Feature Articles S’imaginer très vieille est amusante (To imagine yourself very old is amusing) Agnès Varda celebrates her eightieth birthday during the making of Le...
An Analysis of the Character Animation in Disney’s Tangled Chris Carter July 2013 Feature Articles Introduction In the short time since PIXAR Animation created the first 3D computer animated feature film, Toy Story (John Lasseter, 1995), 3D compute...
Fan Filmmaker and Star-struck Celebrity: An Interview with Michael Winner Christopher Hogg and Douglas S. Kern July 2013 Feature Articles Orson Welles, Sophia Loren, Marlon Brando, Lauren Bacall, Michael Caine, John Gielgud and Ben Kingsley: whilst this list offers a roll-call for some o...
To the Viewer: On Nicholas Ray’s We Can’t Go Home Again Susan Ray March 2013 Feature Articles It’s taken almost four decades to bring you Nick’s last full-length film We Can’t Go Home Again, and not for lack of trying. Why so long? We couldn’t ...
In Dreams and Imagination: Surrealist Values in Mulholland Dr. and Inland Empire Michael Pattison March 2013 Feature Articles Given that Surrealism is commonly cited as one of many artistic influences on David Lynch, attempts to view his films within this framework are surpri...
Notes on Sans Soleil Murray Pomerance March 2013 Feature Articles 1 “I’ve been around the world several times, and now only banality still interests me.” At the beginning of Chris Marker’s Sans soleil (1983), a voi...
Umwelt and the Paradoxes of Landscape in Lupu Pick’s Sylvester and Pier Paolo Pasolini’s Teorema Tyson Wils March 2013 Feature Articles Introduction Writing in 1996, Matthew Gandy pointed out that landscape was an underrepresented area in cinema studies. (1) By 2012, it can be said ...
Poetry in the Air: Mad Bastards and Toomelah Lorraine Mortimer March 2013 Feature Articles I. Where the Crocodiles Are: Mad Bastards I am really proud of this movie most of all because it does justice to the tough men of The Kimberley who h...
The Angels’ Share: Ken Loach and Paul Laverty Lift Scotland’s Kilts to Expose Its Darker Parts David Martin-Jones March 2013 Feature Articles The Angels’ Share (2012) is a Cannes Jury Prize winning film. Given this accolade it seems a little surprising that the film’s central focus is whisky...
Thank God We Don’t Have a Pope: Habemus Papam, Moretti’s Apocalypse Marko Bauer March 2013 Feature Articles “As nihilism becomes more and more the norm, the symbols of emptiness spread much more terror than those of power do.” – Ernst Jünger One nearly mis...
It All Flows Back: Treed Murray and the Limits of Urban Community Zachary Abram March 2013 Feature Articles In the Canadian Oscar winning animated short Ryan (Chris Landreth, 2004), the narrator laments “I live in Toronto, a city in Canada, where I see too m...
Bodies in Filmic Space: The Mise en Scène of ‘Courtship Readiness’ in The Big Sleep Warren Buckland March 2013 Feature Articles Adrian Martin reminds us that mise en scène is ‘the art of bodies in space’. (1) The human body, particularly in motion, generates a complex series of...
Sirk, Hollywood and Genre Tom Ryan March 2013 Feature Articles The Douglas Sirk discovered by criticism has gone through numerous phases. For me, the most telling is the one which has excavated from his work not o...
