Issue Archive
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Architecture, Tarkovsky, Documentary, and Book Reviews
- Hitch on Hitch, or a parade of cameos
- “It belongs to you and your fellow passengers alone”: on Shivers (1975), Nuns’ Island, Mies van der Rohe, and Montreal’s haunted utopian urbanism
- Metropolis or: the insidious nature of Fascism
- Zones: Post-industrial aesthetics and environments after Stalker
- Andrey Tarkovsky: A Cinema of Prayer (Andrey A. Tarkovsky, 2019)
- An essayistic contemplation on humanity and artificial creativity in Opus Cope: An Algorithmic Opera (2021)
- Mockumentary in the Hands of Peter Watkins
- Citizenfour: Decrypting State Voyeurism
- Celluloid and Other Intimacies in Geographies of Solitude
- Perfumed Nightmare (1980), dir. Kiplat Tahimik
- Descriptive Audio: Direct Address in Banksy’s Exit Through the Gift Shop and Werner Herzog’s Little Dieter Needs to Fly
- Reporting from the Retail Apocalypse: A Review of Point of Sale: Analyzing Media Retail Book Review
- In Search of Home: Cultural Traditions and Richard Deming’s book The Art of the Ordinary: The Everyday Domain of Art, Film, Philosophy, and Poetry
- Los Angeles Eats Itself: L.A. Private Eyes and the Hard Boiled Tradition
- The Big Goodbye: Chinatown and the Last Years of Hollywood
- Hitch on Hitch, or a parade of cameos
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Global Cinema Part 2 and Thoughts on Alfred Hitchcock
- The Forestmaker: Reportage, Poetry, and Advocacy
- In Search of Complexity: America, India, and Pakistan in Mira Nair’s The Namesake and The Reluctant Fundamentalist
- A Modest Meditation on Mexican Modernism: Alonso Ruizpalacios’s Güeros and Alejandro González Iñárritu’s The Revenant
- Unmaking Meaning: Motivation and Materiality in Danièle Huillet and Jean-Marie Straub’s Too Early/Too Late and Carl Theodor Dreyer’s Gertrud
- Sports Queen (1934): Li Lili, the Physical Fitness Propaganda Film, and the New Life Movement of the 1930s
- The Cineclub/Film Society 30th Anniversary Screening
- Alfred Hitchcock and the Moving Camera: Authorship, Style, and Declarative Aesthetics
- The Girl Who Knew Too Much: Shadow of a Doubt (1943) Part One, The Gothic Girls of Hollywood
- The Girl Who Knew Too Much: Shadow of a Doubt (1943) Part Two, Gone Girl
- The Birds and the Mechanisms of Suspense
- The Forestmaker: Reportage, Poetry, and Advocacy
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Perspectives on Global Cinemas
- Exterminate all the Brutes (Raoul Peck, 2021) & Speakers for the Dead (David Sutherland & Jennifer Holness, 2000)
- Land in Outback Noir Films: Trope of Spatial Alienation of Aboriginal People in Ivan Sen’s Mystery Road (2013) and Goldstone (2016)
- Soul Sisterhood: A Continuous Take on Pasifika Femininity, Heritage, and Community in Vai (2019)
- A Synchronous Brew of Spice, Song, and Memory: Unpacking the Transgressive Layers of Ritesh Batra’s The Lunchbox
- In the Bright Shadow of Gandhi’s Hope: Tragic Choices in Deepa Mehta’s Water and Gurinder Chadha’s Viceroy’s House
- Exterminate all the Brutes (Raoul Peck, 2021) & Speakers for the Dead (David Sutherland & Jennifer Holness, 2000)
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The Digital Long Take, Political Views on Cinema, Film Festivals, and more
- 1917: The ‘Hard Work’ of the Digital Long Take
- Sōmai Shinji, the Forgotten Master of Long Take and Coming-of-Age Cinema
- Children of Men: A Witness to Absurdity
- Time and Its Other
The Temporal Landscapes of Béla Tarr
- To the Bitter End: Looking Back at Mikio Naruse’s Doomed Romances
- Berlinale 2022: The Great Restart
- 36th Leeds International Film Festival 3-17 November 2022
- The London Film Festival, 2022
- Benjamin Halligan, Hotbeds of Licentiousness: The British Glamour Film and the Permissive Society
- Mrs. Dalloway and The Hours: The Slippery Divide Between Fiction and Reality
- Hollywood & Human Progress: Imagining a Better Future
- Friendship and Historical Materialism in Raoul Peck’s The Young Karl Marx
- Eerie Totality in Bertrand Bonello’s Nocturama
- Caro Diaro and Other Films
- American Masters and Monsters: Jefferson in Paris and The Golden Bowl, two films of love and power by James Ivory, Ruth Prawer Jhabvala, and Ismail Merchant
- 1917: The ‘Hard Work’ of the Digital Long Take
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Gender, Death, and FNC 2021
- Traumatised and Traumatising Performances: Men and Rose Plays Julie
- What does Men (2022) really tell about men?
- Harvey Weinstein. Just typing his name makes my skin crawl
Hollywood Ending: Harvey Weinstein and the Culture of Silence
- The Final Girl and Male vs. Female Representation in Horror Films
- The Experience of a Life Time: Death, Mortal Peril, and Adventure on Screen
- I think therefore I am? Gaspar Noé‘s Vortex
- The Murder of a Category: The Promise (Terry George, 2016) and Idealism, History, and Armenian Genocide in Turkey
- FNC 2021: Festival du Nouveau Cinéma
Back in Theatres
- FNC 2021: Experimental Film Selections
- A Festival on the last of the Greek Islands
Beyond Borders Festival
- Traumatised and Traumatising Performances: Men and Rose Plays Julie
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Fantasia International Film Festival 2021
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Indigenous Themed Films
- The Many are One: The Wholeness of Native Americans in Te Ata (Frankowski, 2016)
- The Reclamation of Culture: Smoke Signals and Skins by Chris Eyre
- Indian Horse: Hockey Night In (a not so benevolent) Canada
- “We Knew They Would Come for Us”: Danis Goulet’s Night Raiders (2021)
- Representation of The Stolen Generation in Select Australian Feature Films
- The Many are One: The Wholeness of Native Americans in Te Ata (Frankowski, 2016)
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Comparative Analysis
- Experiments in Polyphonic Cinema: Observations of Precision Temporal Matching Between Solaris and 2001: A Space Odyssey
- Polyphonic Cinema
The case for a precision temporal relationship between Tarkovsky's Solaris and Kubrick's 2001: A Space Odyssey
- Comparative Openings: The Mummy (1932) Meets The Exorcist (1973)
- From “Eh?” to Zedd: R.I.P. founder of The Cinema of Transgression
- Circles, Myth, and Darwinism: Stanley Kubrick’s 2001: A Space Odyssey and Peter Greenaway’s A Zed and Two Noughts (ZOO)
- The Neutral, Onirosigns and Any-Body-Whatevers in Nostalghia
On the rhythm of any-space-whatever in Andrei Tarkovsky’s Nostalghia
- Thug Nation: Russia in Leviathan and The Student
- Play Misty for Me (Clint Eastwood, 1971) Still Shocks and Mesmerizes 50 Years Later
- Leeds International Film Festival 2021: the conundrum of how to end a film.
- LFF: 2021, A Festival Report
- Experiments in Polyphonic Cinema: Observations of Precision Temporal Matching Between Solaris and 2001: A Space Odyssey
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Cinema and the Other Arts
- A Deep Dive in a Yellow Submarine
Some Notes on the Filmmakers and References in the Classic Animated Feature
- On Adding Dimensions: A Long-Overdue Conversation With Waking Life’s Tech Wizard, Bob Sabiston
- The Dialectics of Dance
Levan Akin’s 2019 film And Then We Danced
- An Interview with Gritt director Itonje Søimer Guttormsen
The cost of standing out in modern-day Scandinavia
- In His Father’s Steps: Jean Renoir’s Evolving Relationship with Impressionism in Partie de campagne and Le déjeuner sur l’herbe
- “Meet Me in Montauk”: Michel Gondry’s Incorporation of Avant-Garde Surrealist Practices in Eternal Sunshine of the Spotless Mind (2004)
- Transgressing the Frame: Onscreen Art Between Form and Formlessness
- Time-Ghost: Art After Andy The Biography of Andy Warhol by Blake Gopnik
- The Cost of Transcendence: Painter-Filmmaker Julian Schnabel, Mark Rothko, and the Art Market
- Stars in Red and Gold: The American Myth Recuperated in American Vampire (2010)
- Addio Monica: A Tribute to Monica Vitti
Monica Vitti: RIP (1931-Feb 2, 2022)
- A Deep Dive in a Yellow Submarine
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Commemorating the Life and Art of Shahin Parhami
- An Act of Love
- My Homeland
- Five conditions for experiencing poetry: on Shahin Parhami’s Every Angel is Terrifying
- Untitled
- Shahin Parhami: Showing Us the Way
- Shahin Parhami and Amin in Moscow
- Stateless Memoirs
A Screenplay by Shahin Parhami
- Reference Works on Shahin Parhami
- Shahin Parhami, the poet
- Shahin Parhami: A Life in Pictures
- An Act of Love
