In recent weeks, members of the Australian film and television industry have been up in arms at the possibility of Australia's cultural industry being undermined by current free trade agreements with the US...
Serial alienation in the modern city: a discussion of the multiple "lost objects" of mourning in Tsai Ming-liang's recent short film, ranging from bygone eras of Chinese and Taiwanese cinema to Tsai's own previous features.
In this conversational yet rigorous interview, Dworkin discusses the techniques and overall experience of working on Love and Diane, a landmark in contemporary documentary that, in the tradition of Wiseman, reveals the workings of social structures from the point of view of human experience.
An overview of the work of filmmaker John Smith, and an appreciation of its humble, earthly qualities, its fine-tuned probing of the "local" world, the artist's relationship to this world and the film form itself.
A personal reflection on how one relates to and remembers cinema, Le Cain re-discovers the early MGM Tarzan movies, finding therein a complex interplay of social values and an innocence not found in contemporary cinema.
Arguing against the proposition that television should be more like film, Nochimson shows how TV's The Sopranos transforms gangster film conventions through serial narrative patterning unique to the medium.
One of the least-discussed films by this often-elusive master, Hurlevent has recently been released on DVD. In this rare English-language interview, Rivette talks about the challenges he faced in planning and shooting his own version of Emily Bronte's novel – with some sidelights on his most recent project.
Revisionist history in action, this essay calls into question prevailing perceptions of pre-Code and Code Hollywood cinema, arguing for a more accurate and considered understanding of how the entertainment industry worked in the '30s and how it was influenced by a variety of factors.
Back from the dead? Despite prophecies of doom, the Hong Kong film industry is now stronger than ever, with horror films a speciality. Hendrix provides all the gory details in this blow-by-blow account.
Kiarostami's government-sponsored educational shorts have gained attention thanks to his later, acclaimed features; pointing to their example, Knox argues that some of the most rewarding cinema lies far outside the world of officially recognised "art".
As several critics have noted, the films of Abbas Kiarostami are characterised by a complex interplay between documentary and fiction. This in-depth essay seeks a fuller understanding of this interplay through an analysis of how space and place are articulated in three of his films.