Welcome to Issue 64 of our journal the editors September 2012 Editorial He seemed immortal, Chris Marker. For so long the basic empirical data of his life – his name, date and place of birth, his private identity – were all up to rumour, speculation and second-guessing. Mystery...
Features the editors September 2012 Feature Articles Chris Marker Special Dossier: My Letter from Siberia by Murray Pomerance Séance “C.M.” by Gavin Keeney Montage as Resonance: Chris Marker...
My Letter from Siberia Murray Pomerance September 2012 Chris Marker Dossier, Feature Articles I went with my close friends Steve Miller and Nancy Corwin, sometime in the autumn of 1969 (when I was twenty-three), to see Chris Marker’s Letter fro...
Kubrick Creator: Alchemy in Stanley Kubrick’s Films Rutger H. Cornets de Groot September 2012 Feature Articles How one should turn to stone. - Slowly slowly become hard like a precious stone - and finally lie there still and silent, to the joy of all eternity. ...
Claude Sautet: Purity and Invention A. Jay Adler September 2012 Feature Articles What is the thing in its essential nature and how is it to be treated? Those are the two fundamental questions for the artist. They apply both to the ...
“Yes, we were utopians; in a way, I still am…”: interview with Jean-Louis Comolli (Part 2) Daniel Fairfax September 2012 Feature Articles Editor of Cahiers du cinéma between 1965 and 1973, Jean-Louis Comolli’s foundational place in the history of film theory will be assured by several ke...
Séance “C.M.” Gavin Keeney September 2012 Chris Marker Dossier, Feature Articles “Like the white swan’s eye to bear the director’s desire…” - Anonymous (1) I. La jetée and L’année dernière à Marienbad… “Death, where is your vi...
Chance and Choice, Biology and Theology in Alexander Payne’s Election Lesley Brill September 2012 Feature Articles Looking back from Election (1999) to his first feature film, Payne saw Citizen Ruth (1996) as “something of a dry run for” the later one. (1) Indeed, ...
Invested in Expression or in Its Destruction?: The Politics of Space and Representation in Chantal Akerman’s Cinema Zain Jamshaid September 2012 Feature Articles The objective of this article is to examine the hyperrealist, feminist tactics of Chantal Akerman’s early 1970s films Jeanne Dielman, 23 Quai du Comme...
The Corpse is in Australia, or The Cinematic Death of White Supremacy Thomas A. Foster September 2012 Feature Articles Saturday Night Live In this new millennium, and with the first black President of the United States, it’s becoming acceptable to discuss “wh...
Statues Also Die, or Schroedinger’s Black Cat Daniel Vilensky September 2012 Chris Marker Dossier, Feature Articles As comprehensive analysis of the institutional mechanisms of museologics, Les statues meurent aussi's (Statues Also Die, 1953) prime contention is, in...
The Cats in the Hats Come Back; or “at least they’ll see the cats”: Pussycat Poetics and the Work of Chris Marker Adrian Danks September 2012 Chris Marker Dossier, Feature Articles For Guillaume-en-Egypte, Polly and Chris This is a slightly revised version of a paper presented at a symposium devoted to Chris Marker in the late...
Chris Marker: Film as Geopolitical Enlightenment Nick Shimmin September 2012 Chris Marker Dossier, Feature Articles There are few enough artists or critics who have, by sheer force of imagination, been able to transform the way thousands understand and appreciat...
Montage as Resonance: Chris Marker and the Dialectical Image Daniel Fairfax September 2012 Chris Marker Dossier, Feature Articles Shortly into the second part of Chris Marker’s epic 1977 compilation film Le Fond de l’air est rouge, one of the great acts of montage in the history ...
Festival Reports the editors September 2012 Festival Reports Holy Motors Contents: Jorge Mourinha on Vila do Conde International Short Film Festival Sally Shafto on Khouribga Bill Mousoulis on Karlovy V...
Textures of Memory, Images in Flux: The 2012 Melbourne International Film Festival Nicholas Godfrey September 2012 Festival Reports At first blush, it seems difficult to pin-down what this year’s Melbourne International Film Festival (MIFF) was trying to be: with an international p...
Standing on the Edge: The 15th Revelation Perth International Film Festival Damien Spiccia August 2012 Festival Reports The Revelation Perth International Film Festival, in its fifteenth year, sixth at the Astor Theatre, and fifth with a program selected by Jack Sargean...
Something for Somebody: The 59th Sydney Film Festival Paul Macovaz August 2012 Festival Reports At the Sydney Film Festival (SFF) no one expects many world premieres. Because of its early June slot, much of Cannes never makes it, but a lot of Ber...
Cosmic Delight: The 47th Karlovy Vary International Film Festival Bill Mousoulis August 2012 Festival Reports One film stood (no, it veritably flew) over all others for me in this year’s Karlovy Vary International Film Festival (KVIFF): Kosmos (Reha Erdem,...
It all began in Khouribga: the 15th Festival du Cinéma Africain de Khouribga Sally Shafto August 2012 Festival Reports “An African film is a miracle, like the rain.” – Youssef Ait Hamou “’No wind is favorable to a sailor who does not know what port he is headed for.’...
State of the Nation: Portuguese Short Film at the 20th Vila do Conde International Short Film Festival Jorge Mourinha August 2012 Festival Reports In 1993, critic and essayist Augusto M. Seabra published a prescient column in the daily Público saluting a new generation of Portuguese filmmaker...
Goldsmith B, Ward S and O’Regan T, 2010, Local Hollywood: Global Film Production and the Gold Coast Nick Herd March 2013 Book Reviews In 1988 Warner Roadshow Studios opened on the Gold Coast in south-east Queensland, with four soundstages and other facilities to support film and tele...
Book Reviews the editors September 2012 Book Reviews Peter Lorre: Face Maker Contents: Mary Harrod on Richard Linklater Mike Walsh on The Shadowcatchers: A History of Cinematography in Australia ...
Richard Linklater by David T. Johnson Mary Harrod September 2012 Book Reviews In her 2006 summary of the history of debates on authorship in general and in cinema in particular, Pam Cook observes that ‘the function of the author...
The Shadowcatchers: A History of Cinematography in Australia by Martha Ansara Mike Walsh September 2012 Book Reviews The first thing to say about Martha Ansara’s book is that it is a gorgeous object, perhaps the best argument against e-books that I have seen this yea...
Designs for Life: David Lynch by Justus Nieland Richard Martin September 2012 Book Reviews If Inland Empire, released in 2006, has proved one of the strangest films of the last decade, David Lynch’s activities since then have only increased ...
‘Are you by any chance a sad-eyed, innocent villain in pictures?’ / ‘Yes, I’m afraid I am’ (1) Peter Lorre: Face Maker by Sarah Thomas Todd Herzog September 2012 Book Reviews In the 1930s Charlie Chaplin referred to Peter Lorre as ‘the greatest living actor’ (p. 60). Fifty years later, Vincent Price claimed that Lorre was ‘...
Showing Australia itself: Australian Documentary: History, Practices, and Genres by Trish Fitzsimons, Pat Laughren, and Dugald Williamson Trent Griffiths September 2012 Book Reviews Coinciding with the emergence of documentary studies as a more or less distinct academic discipline over the last 20 years, broader interest in docume...
Miniaturist Manoeuvres: Noriko Smiling by Adam Mars-Jones Tony McKibbin September 2012 Book Reviews One can be an expert of many things, but what about becoming the world’s expert not on a particular filmmaker, a filmmaking movement or a national cin...
Rape in Art Cinema edited by Dominique Russell Claire Henry September 2012 Book Reviews The representation of rape is a fascinating site for exploring a range of ethical and political issues in cinema studies. Sexual violence on screen ha...
Determining Transnationalism in Serena Formica’s Peter Weir: A Creative Journey from Australia to Hollywood Lia McCrae-Moore September 2012 Book Reviews Peter Weir is an iconic Australian director who is celebrated for his comprehensive body of cinematic work both locally and abroad. His infamous adapt...
Lisa K. Stein’s Syd Chaplin: A Biography James L. Neibaur September 2012 Book Reviews Syd Chaplin is often dismissively referred to as Charlie's half-brother, or given some marginal attention for having helped secure Charlie Chaplin's h...
Cinémathèque Annotations on Film the editors September 2012 CTEQ Annotations on Film The Hourglass Sanatorium Contents: Tony Williams on The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks Shari Kizirian on T...
Alyonka Bilge Ebiri September 2012 CTEQ Annotations on Film The gentle piano strains playing over the helicopter shots that open Boris Barnet’s Alyonka (1961) immediately establish its unique mood of intimate l...
The House on Trubnaya Greg Dolgopolov September 2012 CTEQ Annotations on Film Boris Barnet’s Dom na Trubnoi, Mezhrabpom-Rus (The House on Trubnaya, 1928) is a masterpiece of Soviet silent cinema. It is a delightful comedy of man...
Bad Luck – child of Eroica Frank Bren September 2012 CTEQ Annotations on Film A Polish Keaton Barely a decade after the European war of 1939-45, Poland’s decimated film industry emerged from the ashes to produce not only a gl...
Three Crowns of the Sailor Hamish Ford September 2012 CTEQ Annotations on Film Glorious. That is the word I would use to describe Les trois couronnes du matelot (Three Crowns of the Sailor, 1983), Raúl Ruiz’s French feature from ...
Time Regained John Fidler August 2012 CTEQ Annotations on Film “time is a fluid condition which has no existence except in the momentary avatars of individual people. There is no such thing as was – only is.” - Wi...
Fragmented Subjectivity and Narrative Deconstruction in Three Lives and Only One Death Beata Lukasiak August 2012 CTEQ Annotations on Film “I think in any film worth seeing you should identify with the film itself, not with one of its characters.” – Raúl Ruiz (1) Throughout his prolifi...
The Saragossa Manuscript Darragh O’Donoghue August 2012 CTEQ Annotations on Film “There should be a ladder under every window. Just in case.” - Busquerosin Rekopis znaleziony w Saragossie (The Saragossa Manuscript, 1965) Jan Poto...
“The Fiery Beauty of the World”: Wojciech Has and The Hourglass Sanatorium David Melville August 2012 CTEQ Annotations on Film “It was then that the revelation took place: the vision of the fiery beauty of the world suddenly appeared, the secret message of good tidings, the sp...
The Girl with the Hatbox Shari Kizirian August 2012 CTEQ Annotations on Film The first solo effort by Boris Barnet, Devushka s korobkoy (The Girl with the Hatbox) opened during a pinnacle year for silent cinema. Called “annus m...
The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks Tony Williams August 2012 CTEQ Annotations on Film Long recognised as the pioneer of the “Kuleshov effect”, teacher of future cinematic talents such as Sergei Eisenstein (who attended Kuleshov’s Fi...
My Letter from Siberia Murray Pomerance September 2012 Chris Marker Dossier, Feature Articles I went with my close friends Steve Miller and Nancy Corwin, sometime in the autumn of 1969 (when I was twenty-three), to see Chris Marker’s Letter fro...
Séance “C.M.” Gavin Keeney September 2012 Chris Marker Dossier, Feature Articles “Like the white swan’s eye to bear the director’s desire…” - Anonymous (1) I. La jetée and L’année dernière à Marienbad… “Death, where is your vi...
Statues Also Die, or Schroedinger’s Black Cat Daniel Vilensky September 2012 Chris Marker Dossier, Feature Articles As comprehensive analysis of the institutional mechanisms of museologics, Les statues meurent aussi's (Statues Also Die, 1953) prime contention is, in...
The Cats in the Hats Come Back; or “at least they’ll see the cats”: Pussycat Poetics and the Work of Chris Marker Adrian Danks September 2012 Chris Marker Dossier, Feature Articles For Guillaume-en-Egypte, Polly and Chris This is a slightly revised version of a paper presented at a symposium devoted to Chris Marker in the late...
Chris Marker: Film as Geopolitical Enlightenment Nick Shimmin September 2012 Chris Marker Dossier, Feature Articles There are few enough artists or critics who have, by sheer force of imagination, been able to transform the way thousands understand and appreciat...
Montage as Resonance: Chris Marker and the Dialectical Image Daniel Fairfax September 2012 Chris Marker Dossier, Feature Articles Shortly into the second part of Chris Marker’s epic 1977 compilation film Le Fond de l’air est rouge, one of the great acts of montage in the history ...
Key Moments in Australian Cinema the editors September 2012 Key Moments in Australian Cinema Contents: Luke Buckmaster on Dead End Drive-In Kit Harvey on Red Hill Lesley Speed on Ants in His Pants Adrian Danks on The Overlanders Stephen...
Speaking Truth to Power in Everynight… Everynight (Alkinos Tsilimidos, 1994) Tim Groves September 2012 Key Moments in Australian Cinema When thinking about the history of Australian cinema, many people might associate 1994 with only The Adventures of Priscilla, Queen of the Desert (Ste...
The Tracker (Rolf de Heer, 2002) Robert Picking September 2012 Key Moments in Australian Cinema The sun-drenched, semi-arid and rugged ranges of the Arkaroola Sanctuary, in South Australia’s Flinders Rangers, are an appropriately desolate and inh...
Dead End Drive-In (Brian Trenchard-Smith, 1986) Luke Buckmaster September 2012 Key Moments in Australian Cinema The 1980s, forever recalled with a mixture of fondness and regret as that spandex-clad, white glove, tufted hair and jumpsuit riddled decade taste for...
Red Hill (Patrick Hughes, 2010) Kit Harvey September 2012 Key Moments in Australian Cinema Patrick Hughes is an established director of high-end commercials. He has made advertisements for clients including Cadbury, Ford, Honda and Vodafone....
“Scorched earth and space”: The Overlanders (Harry Watt, 1946) Adrian Danks September 2012 Key Moments in Australian Cinema The Overlanders is the first of five films made by Ealing Studios in Australia between the mid-1940s and the late 1950s. It provides a fascinating ins...
A Bitter Ending in Bitter Springs (Ralph Smart, 1950) Stephen Gaunson September 2012 Key Moments in Australian Cinema Bitter Springs is a 1950 Ealing Studios production shot around Quorn, South Australia. Financed in part by the South Australian Government, who co...
Evie Hayes in Ants in His Pants (William Freshman, 1939) Lesley Speed September 2012 Key Moments in Australian Cinema A key moment in Australian film is the screen debut of Evie Hayes in Ants in His Pants. An American-born comedian singer and actress, Hayes became...
