Offscreen

Cinema as Pleasure Principle

Essays

  • Traumatised and Traumatising Performances: Men and Rose Plays Julie

    Published in Volume 26, Issue 7-8 / August 2022
    George Kowalik

  • Fighting for Freedom, at War with Democracy

    Published in Volume 26, Issue 6 / June 2022
    George Kowalik

  • Representation of The Stolen Generation in Select Australian Feature Films

    Published in Volume 26, Issue 5 / May 2022
    Betty Merin Eapen

  • The Many are One: The Wholeness of Native Americans in Te Ata (Frankowski, 2016)

    Published in Volume 26, Issue 5 / May 2022
    Daniel Garrett

  • Play Misty for Me (Clint Eastwood, 1971) Still Shocks and Mesmerizes 50 Years Later

    Published in Volume 26, Issue 3-4 / April 2022
    Xavier Martinez

  • The Neutral, Onirosigns and Any-Body-Whatevers in Nostalghia

    Published in Volume 26, Issue 3-4 / April 2022
    Jay Plaat

  • Circles, Myth, and Darwinism: Stanley Kubrick’s 2001: A Space Odyssey and Peter Greenaway’s A Zed and Two Noughts (ZOO)

    Published in Volume 26, Issue 3-4 / April 2022
    Stefan Gullatz

  • Experiments in Polyphonic Cinema: Observations of Precision Temporal Matching Between Solaris and 2001: A Space Odyssey

    Published in Volume 26, Issue 3-4 / April 2022
    Brian D. McKenna

  • From “Eh?” to Zedd: R.I.P. founder of The Cinema of Transgression

    Published in Volume 26, Issue 3-4 / April 2022
    Rick Trembles

  • In His Father’s Steps: Jean Renoir’s Evolving Relationship with Impressionism in Partie de campagne and Le déjeuner sur l’herbe

    Published in Volume 26, Issue 1-2 / February 2022
    David Hanley

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