Welcome to Issue 88 of our journal the editors October 2018 Editorial In the popular imagination, modern French cinema began around 1959 and hit its peak in the 1960s, with the revolutionary filmic works of Cahiers du cinéma's critics-turned-directors and their Left Bank contempo...
Gestures of Resistance: An Interview with Tan Pin Pin Joanne Leow October 2018 Feature Articles Tan was born in 1969 in Singapore and was trained in law in the United Kingdom and in documentary filmmaking in the United States. Her experimental do...
AI at the Movies and the Second Coming Robert Alpert October 2018 Feature Articles The movie screens are today filled with science fiction films ranging from adventure fantasies, such as Star Wars: The Last Jedi (Rian Johnson, 2017) ...
Breaking the Synchronicity: An Interview with Rana Eid Andreea Patru October 2018 Feature Articles The experience of war has been mediated through dramas usually exploring the classical distinction between good and evil, with clear protagonists and ...
Inventing Rituals: Cultural Politics in Zhang Yimou’s Historical Films Radha O'Meara October 2018 Feature Articles Zhang Yimou’s films Raise the Red Lantern (1991) and Judou (1990) were widely criticised for historical misrepresentation, because the rituals they re...
Red Hollywood: An Interview with Thom Andersen Simon Petri October 2018 Feature Articles Cinephile, historian, filmmaker and one of the most knowledgeable persons I’ve ever met, Thom Andersen visited the Austrian Filmmuseum during the fall...
Story of Home: The Paternal Legacy of Black Panther Laleen Jayamanne October 2018 Feature Articles We hear the voices of a father and a son talking to each other over a black screen (accompanied by soft string music), in the very opening moments of ...
When You See Me Again It Won’t Be Me: The Metamorphosis, Franz Kafka and David Lynch’s Life-long Obsession Hossein Eidizadeh October 2018 Feature Articles “As Gregor Samsa woke one morning from uneasy dreams, he found himself transformed into some kind of monstrous vermin. He lay on his hard, armor-like ...
Three Mothers Redux: Kathy Acker, Pina Bausch, Tilda Swinton and Luca Guadagnino’s Suspiria Alexandra Heller-Nicholas October 2018 Feature Articles Amongst the 260 odd pages of Kathy Acker’s 1993 experimental novel My Mother: Demonology, somewhere near the front of that iconic postmodern feminist ...
A Time of Reckoning? The 53rd Karlovy Vary International Film Festival Cerise Howard October 2018 Festival Reports This year’s Karlovy Vary International Film Festival (KVIFF) was always going to have a lot to address. For Czechs (and Slovaks), 2018 is a year overl...
Showcasing a Myriad of Landscapes and Cityscapes: The Odessa International Film Festival Giuliano Vivaldi October 2018 Festival Reports Odessa boasts an impressive although often overlooked film history and the idea of staging Ukraine’s major international festival in this city is cert...
The Hope for Fissures: the Night Sight Program at the Crossing Europe Film Festival Dennis Vetter October 2018 Festival Reports “It's a cutthroat world.” Such is the slogan that justifies the first murder of a woman in Alice Lowe's slasher film Prevenge (2016). The victim is an...
Marty Finally Comes to Bologna: Cinema Ritrovato XXXII Peter Hourigan October 2018 Festival Reports It was not the typical balmy Bolognese summer’s night – I was grateful for a pullover – but the Piazza Maggiore was more crowded than I can remember f...
Taking a Chance on Film: 21st Revelation Perth International Film Festival David Morgan-Brown September 2018 Festival Reports For folks in the second most isolated capital city in the world, the Revelation Perth International Film Festival (affectionately abbreviated to Rev) ...
Weerasethakul, Apichatpong Nathan Senn October 2018 Great Directors b. 16 July 1970, Bangkok, Thailand Apichatpong Weerasethakul’s cinema is one of transgression, of social, carnal and metaphysical border-crossings....
Oliveira, Manoel de Wheeler Winston Dixon October 2018 Great Directors “Whether we like it or not, it (death) will come one day, but generally people are not in a hurry, and I personally have never been in a hurry in my...
Cinema Affairs: Fiery Cinema: The Emergence of an Affective Medium in China, 1915-1945, by Weihong Bao Hiu M. Chan October 2018 Book Reviews Although it is full of potential, research on the cultural history of cinema in China has traditionally been a marginal practice. Weihong Bao’s book (...
Declaring the ‘End’, Signaling a Renewal: The End of National Cinema: Filipino Films at the Turn of the Century, by Patrick Campos Katrina Ross Tan October 2018 Book Reviews It is notable that in his first book, Patrick Campos declares the “end of national cinema” – not to signal Philippine cinema’s death, but to revaluate...
The Aesthetic Mobilities of Lyotard’s Film-Philosophy: Acinemas: Lyotard’s Philosophy of Film, by Graham Jones and Ashley Woodward (eds.) Sharon Jane Mee October 2018 Book Reviews Acinemas: Lyotard’s Philosophy of Film is an anthology compiled and edited by Graham Jones and Ashley Woodward from papers presented at the “Acinemas:...
The Said and the Unsaid (Part I): Australian Film Theory & Criticism (3 vols.), ed. Noel King, Constantine Verevis and Deane Williams Barrett Hodsdon October 2018 Book Reviews The ambition and scope of this project, as indicated by its all-encompassing title, was clearly designed to cover the explosion in critical and concep...
The Said and the Unsaid (Part II): Australian Film Theory & Criticism (3 vols.), ed. Noel King, Constantine Verevis and Deane Williams Barrett Hodsdon September 2018 Book Reviews Further Reflections and Omissions In line with my heading “Further Reflection and Omissions”, I want to briefly note and emphasise the problems of th...
Ida Lupino’s Hard Noir: Private Hell 36 (Don Siegel, 1954) Eloise Ross October 2018 CTEQ Annotations on Film In this grim, sexy film noir about corrupt male police officers, its lasting effect can be attributed to its lead woman, Ida Lupino. Yet the first wom...
Hail (Amiel Courtin-Wilson, 2011) Felicity Ford October 2018 CTEQ Annotations on Film Amiel Courtin-Wilson’s film Hail (2011) opens with an epic celestial battle in the sky: an immortal army of hunters descending from the heavens on hor...
A City in Transition in Taipei Story (Edward Yang, 1985) Nicholas Bugeja October 2018 CTEQ Annotations on Film The principal discovery being made by Taiwanese directors is their own history This new field of inquiry must negotiate the coexistence of colonizer...
Love and Suffocation in Man Is Not a Bird (Dušan Makavejev, 1965) Nicholas Bugeja October 2018 CTEQ Annotations on Film Makavejev aims to tear down and rebuild the basic blocks of moviemaking itself. Toggling easily, even imperceptibly, between fiction and documentary, ...
Outrage (1950): Ida Lupino’s Vision of Rape Trauma Alexandra Heller-Nicholas October 2018 CTEQ Annotations on Film In a cultural and industrial landscape significantly altered by the barrage of sexual-abuse and harassment allegations against now-notorious Hollywood...
Riding, Jumping, Standing Still: Junior Bonner (Sam Peckinpah, 1972) Adrian Danks October 2018 CTEQ Annotations on Film Although Sam Peckinpah’s films are routinely described in terms of their often-fetishistic fascination with violence, influential deployment of such d...
Ruin (Michael Cody & Amiel Courtin-Wilson, 2013) Rhiannon Dalglish October 2018 CTEQ Annotations on Film Debuting at the Venice Film Festival in 2013 and winning the Orizzonti sidebar’s Special Jury Prize, Ruin (Michael Cody & Amiel Courtin-Wilson, 20...
The Hitch-Hiker (Ida Lupino, 1953) Stephen Gaunson October 2018 CTEQ Annotations on Film The production of The Hitch-Hiker (Ida Lupino, 1953) began with a story written by Robert Joseph, titled “The Persuader”, in which two ex-army buddies...
Thriller: “The Bride Who Died Twice” (Ida Lupino, 1962) Wheeler Winston Dixon October 2018 CTEQ Annotations on Film While Ida Lupino is best known for the seven feature films that bear her name as director – the out-of-wedlock pregnancy drama Not Wanted (1949), whic...
Yi Yi (Edward Yang, 2000) MaoHui Deng October 2018 CTEQ Annotations on Film Edward Yang’s 2000 film Yi Yi won him a dizzying array of accolades from multiple film festivals and film associations, including the Best Director Aw...
A Man Under Investigation: The Bigamist (Ida Lupino, 1953) Joanna Di Mattia October 2018 CTEQ Annotations on Film “Harry Graham …” the adoption agent, Mr Jordan (Edmund Gwenn), contemplates, once the man in question (Edmond O’Brien) and his wife, Eve (Joan Fontain...
Moontide (Archie Mayo & Fritz Lang, 1942) Martyn Bamber October 2018 CTEQ Annotations on Film Emerging from a troubled production history, Moontide seems overlooked in the annals of film history in general, and the story of 20th Century-Fox in ...
The Twilight Zone: “The Masks” (Ida Lupino, 1964) Ben Kooyman October 2018 CTEQ Annotations on Film Credit for the genius of the original series of The Twilight Zone is routinely attributed to its droll, visionary chain-smoking architect Rod Serling ...
WR: Mysteries of the Organism (Dušan Makavejev, 1971) Darragh O’Donoghue October 2018 CTEQ Annotations on Film Cold War-era WR: misterije organizma (WR: Mysteries of the Organism, Dušan Makavejev, 1971) sets West against East with two opening sequences. In the ...
Smoke Gets in Your Eyes: The Terrorizers (Edward Yang, 1986) James Waters October 2018 CTEQ Annotations on Film Two couples wake up, shamble through their respective apartments. A photographer (Ma Shao-chun) pricks up his ears at the sounds of a stake-out. Each ...
Australia Daze (Pat Fiske, 1988): Questioning Nationhood John Hughes October 2018 CTEQ Annotations on Film “Centenaries are strange institutions often with complex purposes (sometimes) wonderfully simple minded.” – C. J. Clarke “This 80-minute comedy – ...
Tom Zubrycki’s Amongst Equals (1986-1991): A Perennial Work in Progress John Hughes October 2018 CTEQ Annotations on Film Amongst Equals has never been released, and while several iterations found their way to the screen in the early 1990s, the film has yet to be complete...
Love Affair or The Case of the Missing Switchboard Operator (Dušan Makavejev, 1967) Eloise Ross March 2017 CTEQ Annotations on Film “I didn’t sign on to be your slave.” It’s the cry of every woman who has ever been born, and every country who has ever been created, annexed, oppress...
The Second Generation: French Cinema After the New Wave (Introduction) David Heslin October 2018 The Second Generation: French Cinema After the New Wave In the 1970s, French film was in a post-revolutionary phase. Not only had the work of the Cahiers du cinema acolytes and their Left Bank contemporarie...
An Unsentimental Education: Children in the Films of Jacques Doillon Joanna Di Mattia October 2018 The Second Generation: French Cinema After the New Wave An adult tries to comfort the four-year-old girl whose grief and confusion at her mother’s sudden death provides Jacques Doillon’s Ponette (1996) with...
Courting Disaster: Unromantic Entanglements and Warped Affections in André Téchiné’s Post-New Wave Cinema Glenn Heath Jr. October 2018 The Second Generation: French Cinema After the New Wave Polish-German director Ernst Lubitsch was known for infusing his subversive comedies with an effervescent sexiness and class. Studio marketers branded...
Erosion by Desire: Marguerite Duras’ Self-Adaptations Danica van de Velde October 2018 The Second Generation: French Cinema After the New Wave Towards the end of Marguerite Duras’ 1969 film Détruire dit-elle (Destroy, She Said) – adapted from her novel of the same name published earlier that ...
The Imitation Game: Jean Eustache’s My Little Loves Stefan Solomon October 2018 The Second Generation: French Cinema After the New Wave “I read a book about this guy’s high school years. He said his French professor really made him sick. When he lectured about passion in the works of R...
To Circle the Empty Space: Philippe Garrel’s Marie pour mémoire and Le bleu des origines Gérard Courant October 2018 The Second Generation: French Cinema After the New Wave Translated by Amy Miniter This piece was originally published in Cinéma 79, no. 244, April 1979. It has been reprinted with the kind permission of ...
Paul Vecchiali, a Cinematic Franc-Tireur Daniel Fairfax October 2018 The Second Generation: French Cinema After the New Wave Critic at Cahiers du cinéma, filmmaker, globally recognised auteur. The trajectory is a familiar one, particularly for a French cinephile born in 1930...
A Ferocious Modesty: Benoît Jacquot’s The Wings of the Dove David Melville October 2018 The Second Generation: French Cinema After the New Wave They flourished their masks, the independent pair, as they might have flourished Spanish fans; they smiled and sighed on removing them; but the gestur...
Colloidal Images: The Silent Films of Philippe Garrel Grant Bromley October 2018 The Second Generation: French Cinema After the New Wave “Life’s a gas. I hope it’s gonna last.” – T. Rex, “Life’s a Gas” Wearing only pantyhose over underwear, an androgynous child (Stanislas Robiolle) ...
Casually Radical: Three Films by Jacques Rozier Tope Ogundare October 2018 The Second Generation: French Cinema After the New Wave There it is, on this year’s Venice Classics lineup: Adieu Philippine (1962), Jacques Rozier’s loose-limbed debut about a young TV technician’s dallian...
Vampire Country: Sex and Psychoanalysis in the Films of Catherine Binet David Heslin October 2018 The Second Generation: French Cinema After the New Wave In the film that bears her name, Countess Dolingen is on screen for less than a minute. She lies dead on a slab; then, as thunder rumbles and lightnin...
Maurice Pialat: Acts of Grace Max Nelson March 2012 The Second Generation: French Cinema After the New Wave First we see only ugliness. A troubled young boy hurls a cat down a flight of stairs. A mother cradles her daughter’s corpse and presses her gaping mo...
