Welcome to Issue 91 of our journal the editors July 2019 Editorial This being our mid-year issue, we are thrilled to be presenting another dossier in conjunction with a film program devoted to a great contemporary film auteur, this time Peter Strickland, screening at the Melbo...
Richard Linklater’s Boyhood and the problem of aging in film Rick Zinman July 2019 Feature Articles Boyhood (Richard Linklater, 2014) is an experimental dramatic film that follows a boy and his family growing up over a 12-year period of time. This de...
A Day at Kitano’s Beach: Sonatine Makes a Fresh Start Kalling Heck July 2019 Feature Articles Upon arriving at the beach house to which he has fled – ostensibly escaping the treacherous warfare that threatened to interrupt his attempts to escap...
Poverty and Women’s Sacrifices in Stella Dallas (1937) and Wendy and Lucy (2008) Brian Brems July 2019 Feature Articles After the institution of the Hollywood Motion Picture Production Code in 1934, the diversity of on-screen opportunities available to female characters...
‘This Thing of Ours’: A Woman’s Place in the Gangster Genre George S. Larke-Walsh and Stephanie Oliver July 2019 Feature Articles The ever-present call for Hollywood to deliver a more diverse range of protagonists has been answered in recent years with some significant developmen...
The subversive phallocentrism of Channing Tatum: A critical analysis of Magic Mike XXL Katie Warfield July 2019 Feature Articles The breadth of depictions of feminine heroes in 2015 films was extensive. We saw butch Charlize Theron in Mad Max: Fury Road (George Miller, 2015), po...
The God of the Camera is a Coloniser: An Interview with RaMell Ross Leonardo Goi July 2019 Interviews Sitting in the dim-lit bar of Berlin’s most iconic theatre, the Volksbühne (a slab of concrete of modernist grandeur located in the heart of the forme...
Interview: Sergei Loznitsa on his new film The Trial Lucian Tion July 2019 Interviews In The Trial, a film branded by the director “a unique example of a documentary in which one sees ‘24 frames of lies’ per second,” Sergei Loznitsa rem...
Rome, Open City: A Conversation with Abel Ferrara Hugo Emmerzael July 2019 Interviews Welcome to Rome, where the film provocateur behind seedy New York City classics like Ms .45 (1981), King of New York (1990) and Bad Lieutenant (1992) ...
Encounter at the Editing Table – The Film Archive as a Memory of One’s Own Existence Vivien Buchhorn July 2019 Interviews Dónal Foreman in conversation with Vivien Buchhorn Dónal Foreman’s The Image You Missed is a cinematic dialogue in which Foreman connects his own a...
Back to Basics: The New Spirit of Cinéma du Réel Maria Giovanna Vagenas July 2019 Festival Reports In Paris, during the grey and wintry month of March, dazzling colours and geometric patterns on the famous glass and steel façade of the Centre Pompid...
Looking Forward and Looking Back: The 20th Jeonju International Film Festival Marc Raymond July 2019 Festival Reports 2019 marked the 20th anniversary of the Jeonju film festival, which celebrated with its largest program to date, with an emphasis on both the history ...
Echoes of Exclamation: The 65th Internationale Kurzfilmtage Oberhausen Steffanie Ling July 2019 Festival Reports The Internationale Kurzfilmtage Oberhausen is like a restaurant that everyone keeps going to even though the quality of the food is consistently unpre...
Tricky Women/Tricky Realities and the Body Politic Amanda Barbour July 2019 Festival Reports Vienna is pretty much a combination of The Lord of the Rings and a mental asylum. Tolkienian because of its baroque architecture and contained lunacy ...
An Unlikely Oceanic Feeling in Middle America: True/False Film Festival 2019 Jordan M. Smith July 2019 Festival Reports This year was my fifth consecutive visit to the American midwest, lovingly described by the True False Film Festival’s press liaison as “the middle of...
A Vintage Year – the 21st Far East Film Festival Chris Berry July 2019 Festival Reports Udine’s Far East Film Festival celebrated its twenty-first birthday with a vintage selection of excellent films. Despite a public funding cut of 150,0...
Islands in the Current: The 16th IndieLisboa Film Festival Leonardo Goi July 2019 Festival Reports I am flicking through the notes of my second year at IndieLisboa, and sensing a pattern. Writing from Portugal a year ago, I remember praising a handf...
Screening Desire: BFI Flare London LGBTQ+ Film Festival James Lawrence Slattery July 2019 Festival Reports Founded in 1986, BFI Flare is now a well-established festival screening new LGBTQ+ films from around the world. Held at London’s British Film Institut...
Recovering Hidden Histories: The 27th PanAfrican Art and Film Festival Bérénice Reynaud July 2019 Festival Reports The Voice in the Church For the opening night of its 27th edition at the Directors Guild of America, the PanAfrican Art and Film Festival (PAFF), lan...
Youth in motion: the 18th Transilvania International Film Festival Leonardo Goi July 2019 Festival Reports It took an open-air screening of Panos Cosmatos’ Mandy - held in the courtyard of an abandoned castle in the middle of Transylvania, and with lead act...
Children of the Apocalypse: the 2019 Cannes Film Festival Daniel Fairfax July 2019 Festival Reports Picture this, dear reader: from the very beginning of this year’s Cannes film festival, I had been having nightmares about the prospect of getting int...
Huston, John Bruce Jackson July 2019 Great Directors b. 5 August 1906, Nevada, Missouri, U.S, d. 28 August 1987, Middletown, Rhode Island, U.S. John Huston, the American director, writer and actor, w...
Stone, Oliver Jeremy Carr July 2019 Great Directors b. 15 September, 1946, New York City, New York, USA “You can’t be an individual in this world, Huckleberry, and expect to get away with it. Only a fe...
Political Gestures: Cinema/Politics/Philosophy, by Nico Baumbach Daniel Fairfax July 2019 Book Reviews There is a slight retro effect to the triple-barreled title of Nico Baumbach’s book, with the pair of solidi separating-conjoining the terms “cinema”,...
Mythologicals Matter: A Review of Deities and Devotees, by Uma Maheswari Bhrugubanda Mohamed Shafeeq Karinkurayil July 2019 Book Reviews One of the great rescue acts of the popular turn in Indian academia of the late 1990s has been to recuperate the Indian film viewing masses from the c...
A Mensch’s Moviemaking: Stanley Kubrick: New York Jewish Intellectual, by Nathan Abrams Jeremi Szaniawski July 2019 Book Reviews Stanley Kubrick belongs to the category of select filmmakers to have elicited a massive body of critical work as well as gained a cult following among...
A New Leaf (Elaine May, 1971) Martyn Bamber July 2019 CTEQ Annotations on Film Elaine May’s film directing debut, A New Leaf (1971) is a pitch-black comedy centred on Henry Graham (Walter Matthau), an affluent, self-absorbed bach...
Blue Steel (Kathryn Bigelow, 1990) Ben Kooyman July 2019 CTEQ Annotations on Film Kathryn Bigelow has defied expectations throughout her unorthodox career: the co-director of arthouse biker movie The Loveless (1981) also helmed the ...
Close to You: Elaine May’s The Heartbreak Kid (1972) Danica van de Velde July 2019 CTEQ Annotations on Film Elaine May opens her second feature film, The Heartbreak Kid (1972), by compressing the full cycle of courtship into three minutes. From the film’s sm...
The Hurt Locker (Kathryn Bigelow, 2008) Rahul Hamid July 2019 CTEQ Annotations on Film When Kathryn Bigelow won an Oscar for directing The Hurt Locker (2008), she was the first (and to this day, only) woman to receive the award. Not only...
Ishtar (Elaine May, 1987) Brad Weismann July 2019 CTEQ Annotations on Film If all of the people who hate Ishtar had seen it, I would be a rich woman. – Elaine May While it’s true that you learn more from mistakes than succe...
Joseph Kilián (Pavel Juráček & Jan Schmidt, 1963) Darragh O’Donoghue July 2019 CTEQ Annotations on Film Much of the visual lexicon we associate with the term ‘Kafkaesque’ was established by Orson Welles’ adaptation of The Trial (1962) and Pavel Juráček a...
“Open the Door”: Access and Dominance in Mikey and Nicky (Elaine May, 1976) Ivana Brehas July 2019 CTEQ Annotations on Film The men of Elaine May’s Mikey and Nicky (1976) seem trapped in a tenuous, exhausting, night-long tug of war. The film follows two small-time criminals...
Rosita (Ernst Lubitsch, 1923) Shari Kizirian July 2019 CTEQ Annotations on Film A 1923 American release about a scrappy street singer who catches the eye of a lascivious king in a fictional Old Seville, Rosita was a turning point ...
Sexy Smart Women in Trouble in Paradise (Ernst Lubitsch, 1932) Gwendolyn Audrey Foster July 2019 CTEQ Annotations on Film One of the most sublime of all Ernst Lubitsch’s romantic comedies, Trouble in Paradise (1932) is a delicate and carefully balanced mixture of languoro...
Introduction: The Analogues of Peter Strickland Alexandra Heller-Nicholas and John Edmond July 2019 The Analogues of Peter Strickland One way of thinking about Peter Strickland’s works is as baubles of obsession. They are little spheres of influence, spheres of logic that marry fecun...
Antiworld, Imminence and the Pastoral in Katalin Varga Henri de Corinth July 2019 The Analogues of Peter Strickland While the films of Peter Strickland are celebrated for their emulation of midcentury genre cinema, much of their structure – being their oscillation b...
Chickens Come Home to Roost: Hallucinations of a Hobbyist in Peter Strickland’s Berberian Sound Studio David Toop July 2019 The Analogues of Peter Strickland Like the hole at the centre of a tape spool, Gilderoy occupies the absent fulcrum of an auditory mystery, a mystery made more mysterious by its transp...
The Butterfly Affect: Haptic Vision in Peter Strickland’s The Duke of Burgundy Drew Daniel July 2019 The Analogues of Peter Strickland One handy way to think about Peter Strickland’s cinematic work is through its pronounced, indeed insistent historical referentiality to the cinema of ...
Fashioning Film’s Fabric: Wearing the Materiality of Peter Strickland’s In Fabric David Evan Richard July 2019 The Analogues of Peter Strickland Making sense of Peter Strickland’s lushly realised In Fabric (2018) is a peculiarly challenging task, one that not necessarily uses the brain, but rat...
Tangled Worlds – The Natural and Fantastic in Peter Strickland’s Katalin Varga and Berberian Sound Studio Alison Taylor July 2019 The Analogues of Peter Strickland "But round the castle there began to grow a hedge of thorns, which every year became higher, and at last grew close up round the castle and all over i...
The “Faraway Forest” in Peter Strickland’s Katalin Varga, The Duke of Burgundy, and The Cobbler’s Lot Samm Deighan July 2019 The Analogues of Peter Strickland Throughout folklore, the forest is a place beyond social convention, of lawlessness and disorientation. It is home to brigands and monsters, and yet a...
Gender Divide in Diptych: Peter Strickland’s Berberian Sound Studio and The Duke of Burgundy Anton Bitel July 2019 The Analogues of Peter Strickland The Berberian Sound Studio – a labyrinthine post-production complex in 1970s Italy to which all the events of Berberian Sound Studio are restricted – ...
It’s a Cobbler’s Lot: Peter Strickland’s Penchant for Synaesthetic, Švankmajerian Surrealism and Fetishism Cerise Howard July 2019 The Analogues of Peter Strickland "One sensation of mind, one fabric in recollection of touch." - Saleswoman Miss Luckmoore (Fatma Mohamed), waxing typically gnomic, in In Fabric (Pet...
Hard Line Listening: Sound and Audition Within the Films of Peter Strickland Lawrence English July 2019 The Analogues of Peter Strickland The cinema screen, by its very construction, is a treacherous environment for sound. It is a plain, a horizon locked by hard borders, historically tet...
Worldly Decoupage: Peter Strickland, Collage and Design Julian House July 2019 The Analogues of Peter Strickland Design work is about worlds. When I do an LP campaign for a band, I see it as creating a world for the artist, for that particular album. This world a...
Interview: The Work of Peter Strickland John Edmond July 2019 The Analogues of Peter Strickland This wide-ranging conversation with Peter Strickland is centred around work, as theme of his films, and his theory and practice of it as filmmaker. Th...
