Festival Reports

The 2016 Tribeca Festival Report »

Mother

By Gary M. Kramer. The 2016 Tribeca Film Festival, April 13-24, showcased more than 100 features and nearly 75 shorts from 42 countries. The documentaries and foreign films were strongest. Here are reviews…

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The 2016 DC Independent Film Festival »

Internet Junkie

By Gary M. Kramer The DC Independent Film Festival, billed as “the oldest independent film festival in our nation’s capital,” started screening dozens of features, documentaries, shorts and animated films March 4-13. Here…

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The 2015 FrightFest Report »

Road Games

By Cleaver Patterson. Modern films can be hard to categorise: with so many increasingly open to different interpretations it is often hard to single out one core theme or trait. Fortunately though, this…

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Films for the People – The 2015 Ljubljana International Film Festival »

Dheepan

By Erica Johnson Debeljak. The 26th Ljubljanski mednarodni filmski festival (LIFFE) took place from November 11 to November 22 last year. It is the fifteenth incarnation of this festival under the catchy acronym…

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The 2015 DOKU.ARTS Festival »

The Chinese Mayor

By Yun-hua Chen. DOKU.ARTS, after its seven-year residence in Amsterdam and Brazil, returned to Berlin and has stayed here since 2012. The event focuses on documentaries exploring art and artists, some of which,…

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The 2015 European Union Film Showcase »

Fidelio: Alice’s Odyssey

By Gary M. Kramer. The American Film Institute’s annual European Union Film Showcase screened December 1-20 at the AFI Theater in Silver Spring, Maryland. This year’s program, the festival’s 28th, opened with Spanish…

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The 2015 New York Film Festival Report »

The Lobster

By Gary M. Kramer.  The 53rd New York Film Festival runs through October 11 and there are several outstanding features by established and returning filmmakers playing at the fest. Here is a rundown…

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Interview

“I Don’t Do Sentimental Journeys”: An Interview with Agnieszka Holland »

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By Alex Ramon. Few filmmakers can claim a more diverse and distinctive career than Agnieszka Holland, a truly global…

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The Struggle Toward Beauty: Terence Davies on the Road to Sunset Song »

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By Paul Risker. While Sunset Song (2015) takes us on a journey into the world of Kinraddie, Scotland pre-World War I and…

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Programming in Constant Change: An Interview with Charles Morris »

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By David A. Ellis. Charles Morris has been running cinemas for nearly twenty-eight years in northern England. His company…

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Remaining at the Helm: Marc Abraham on I Saw the Light »

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By Paul Risker. Within the ongoing story of film there are those filmmakers, actors and producers that cast long shadows,…

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Critic as Programmer: Michał Oleszczyk on Poland’s Gdynia Film Festival »

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By Paul Risker. Last year saw The Gdynia Film Festival celebrate its 40th edition, the history and lifespan of which…

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Paolo Genovese and Perfect Strangers: A Tribeca Interview »

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By Gary M. Kramer. Paolo Genovese’s cheeky comedy-drama Perfect Strangers operates on the simplest—and perhaps riskiest—of principles: if our…

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On “Corporate” Nordic Crime: Natalie Madueño on the Series Follow the Money »

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By Paul Risker. “It would have definitely been another series had it come out before the financial crisis, or it…

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All in the Momentum: Ira Sachs on Little Men »

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By Amir Ganjavie. One of the great entries at this year’s Berlinale, Ira Sachs’s Little Men centers on the coming-of-age story…

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Variety and Unity: Michal Kosakowski on German Angst »

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By Paul Risker. The question is an integral part of the interview, but equally it was a question that was…

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Iran at the Crossroads of Modernity and Virtuality: Mani Haghighi on A Dragon Arrives! »

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By Amir Ganjavie. The central questions in Western philosophy concern what is truth, reality, and right or wrong. Major sources of…

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MOST RECENT

  1. Looking Back at The Graduate
  2. “I Don’t Do Sentimental Journeys”: An Interview with Agnieszka Holland
  3. The Struggle Toward Beauty: Terence Davies on the Road to Sunset Song
  4. Programming in Constant Change: An Interview with Charles Morris
  5. The Heart of the Melodrama: Brief Encounter on Criterion
  6. Remaining at the Helm: Marc Abraham on I Saw the Light
  7. Forever Revisited: In a Lonely Place on Criterion
  8. Film Scratches: Mixing the Mythic and the Poetic in Por Dinero (2011)
  9. Critic as Programmer: Michał Oleszczyk on Poland’s Gdynia Film Festival
  10. Paolo Genovese and Perfect Strangers: A Tribeca Interview
  11. The Chaplin Machine: Slapstick, Fordism and the Avant-Garde by Owen Hatherley
  12. On “Corporate” Nordic Crime: Natalie Madueño on the Series Follow the Money
  13. The 2016 Tribeca Festival Report
  14. All in the Momentum: Ira Sachs on Little Men
  15. Liberation in Trapped: A Conversation with Ólafur Darri Ólafsson
  16. Variety and Unity: Michal Kosakowski on German Angst
  17. United 93: A Social Conscience and the Ease of Historicism (A 10th Anniversary Retrospective)
  18. Iran at the Crossroads of Modernity and Virtuality: Mani Haghighi on A Dragon Arrives!
  19. Never Mean: Patton Oswalt’s Film Memoir, Silver Screen Fiend
  20. Film Scratches: Trojan Horse Malware Infecting Us All – H. by Rania Attieh and Daniel Garcia
  21. Baskin: Blurred (Genre) Vision from Turkey
  22. Letting Welsh Drama Breathe: Gareth Bryn on The Passing
  23. Curating the 2016 Tribeca Shorts – A Conversation with Sharon Badal
  24. The Visual Beauty of Marguerite
  25. On Trauma, Loss, and Fatherhood: An Interview with Joachim Trier on Louder Than Bombs
  26. Orlacs Hände: A Constant Dilemma
  27. All the Fire: The use of sexual imagery as a way for attracting cinema audiences in 1950s America
  28. Film Scratches: Violence Tamed – Wheeler Winston Dixon’s An American Dream (2016)
  29. Fear and Trust: Dana Ivgy on Performing Next to Her
  30. This Still Can’t Be Happening! – Callan Potter on Bruno and Boots: Go Jump in the Pool!
  1. Paul Risker: Tony, You are too kind! Many thanks for your compliments – they are truly appreciated! I must take a...
  2. jersey joe jacovino: hey all very glad to not only have found this page – but having been led here through the...
  3. Tony Williams: Paul, Again you bring respectability and responsibility to the fine art of interviewing. I had the...
  4. Paul Risker: Tony, We most certainly could, and very well articulated as opposed to my clumsy offering above. The...
  5. Louise Clay: I watched Andy’s Gang every Saturday morning during its entire run. My sisters and I LOVED the...

Review

Graduate 1

Looking Back at The Graduate »

By Jeremy Carr.  Ben Braddock, Dustin Hoffman’s titular character from Mike Nichols’ 1967 film, The Graduate, is first seen staring straight ahead aboard an airplane. He looks off in a…

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The Heart of the Melodrama: Brief Encounter on Criterion »

By Christopher Sharrett. When I think about the melodrama I tend to focus on the masterpieces of Max Ophuls, Douglas Sirk, Vincente Minnelli, Irving Rapper, Edmund Goulding, King Vidor, and…

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Forever Revisited: In a Lonely Place on Criterion »

By Tony Williams. Whether available theatrically or 16mm, VHS, and previous DVD formats, Nicholas Ray’s In a Lonely Place (1950) has always ranked high as a great Hollywood film either…

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Cover

The Chaplin Machine: Slapstick, Fordism and the Avant-Garde by Owen Hatherley »

A Book Review by Tony Williams. Today, it has become a tedious commonplace to listen to erroneous fallacies such as Fukayama’s “The End of History” – to which one can…

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Silver Screen Fiend

Never Mean: Patton Oswalt’s Film Memoir, Silver Screen Fiend »

A Book Review by John Duncan Talbird. Many film lovers will enjoy Patton Oswalt’s new memoir, Silver Screen Fiend, mainly because he’s one of us. He and his friends –…

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The Visual Beauty of Marguerite »

By Cleaver Patterson.  At one point, about half way into Marguerite (2015), the drama by French writer/director Xavier Giannoli, singing teacher Atos Pezzini (Michel Fau) is trying, diplomatically, to describe…

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Orlacs Hände: A Constant Dilemma »

By Amy R. Handler. Reaching back to time’s beginnings, Orlacs Hände (1924) forever touched the future, but at what price? Robert Wiene’s cinematic interpretation of Maurice Renard’s Les Mains d’Orlac…

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Saul Bass: Anatomy of Film Design by Jan-Christopher Horak »

A Book Review by Tony Williams. The work of Saul Bass is familiar to those impressed by credit openings of The Man with the Golden Arm (1955), Cowboy (1958), Bonjour Tristesse…

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Crimson Glory: The Hidden Depths of Dario Argento’s Deep Red »

By Cleaver Patterson. Anyone taking it upon themselves to comment on a film by the master of the giallo thriller Dario Argento is, to some extent, staking their reputation as…

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A Patriarch’s Infamy: The Clan »

By Elias Savada. An ugly, dirty war begets the airing of some nasty laundry. That’s the simple historical concept – and quite an emotional memory for the too many South Americans…

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Diverse Stories, Diverse Faces: Songs My Brothers Taught Me »

By John Duncan Talbird. First-time feature writer-director Chloé Zhao’s Songs My Brothers Taught Me opens and closes with the narration of teenage Lakota Indian Johnny Winter (John Reddy). The first image…

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Zootopia: A Modern Interpretation of a Fairy Tale »

By Cleaver Patterson. Judy Hopps (Ginnifer Goodwin) is a young bunny with big ideas. Living in the rural town of Bunnyburrow her parents expect her to follow in the family…

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Fearless Realism: Krisha »

By Elias Savada. Other than a kitchen catastrophe, there’s not a sloppy moment in Trey Edward Shults’ micro-budgeted, crowdsourced Krisha, an incredibly well-constructed debut feature that plays like a home movie…

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Old Men Rule in Remember »

By Elias Savada. The perception that people of significantly older age can’t control their destinies, particularly if dementia is knocking at their door, is expressively examined in Canadian auteur Atom Egoyan’s…

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A Cruel Destiny: Intruders »

By Paul Risker. I still recall the scene in Bernardo Bertolucci’s The Dreamers (2003) when the father tells his offspring that they cannot live separately of the world. It is…

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Berlin Replayed: Cinema and Urban Nostalgia in the Postwall Era by Brigitta B. Wagner »

A Book Review by Tony Williams. This book falls into the now familiar category of Cityscape Studies but focuses on representations of Berlin from the period of Walter Ruttmann’s well-known…

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Life Falls Apart: Sibylle »

By Elias Savada. The ominous hum of unease that saturates Swiss-born director Michael Krummenacher’s effective yet derivative German thriller Sibylle – being sold worldwide under the title Like a Cast Shadow –…

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Breaking Waves with Neptune »

By Elias Savada. Spiritual and haunting in its low decibel manner, the New England coming-of-age drama Neptune is an indie effort that follows a young teenager’s soul-searching excursion along a disconcerting…

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FOOLS

Fools Stalk at First Sight »

By Elias Savada. A semi-creepy opening sequence for director-writer Benjamin Meyer’s micro-budget feature directorial debut Fools had me wondering whether stalking can be an acceptable dating platform. Two people exchange glances…

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Secrets Haunt Our Past: The Automatic Hate »

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By Elias Savada. Listen, I have three vices. Movies. Craft beer. And genealogy. Shortly after Justin Lerner’s second feature, The Automatic Hate, begins,…

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The Camera as Our Imagination: Hiroshima Mon Amour (1959) »

By Paul Risker. Alain Resnais and Hiroshima Mon Amour (1959) – two names forever locked in an embrace; the latter a defining and…

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Conventional Calamity: The Wave »

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By Elias Savada. Disaster movies are a dime a dozen here in the United States. Catastrophes (usually) are Hollywood’s bread-and-butter…and your buttered popcorn.…

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Small Town Texas Lite: A Country Called Home »

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By Elias Savada. Doused with a familiar, filial melancholy, A Country Called Home is a bittersweet tale of a 25-year-old woman coming to…

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Fleeting Reconciliation: Colliding Dreams »

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By Elias Savada. The nightmare that surrounds the Israeli-Palestinian conflict in the Middle East has never been an easy one to suppress. It’s…

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The Deceptively Simple Magic of Only Yesterday (1991) »

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by John Duncan Talbird. At the midpoint of Isao Takahata’s animated Only Yesterday (1991) narrator-protagonist Taeko gives us a lesson on the…

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Not Quite Dark Enough »

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By Elias Savada. Dark is another day (and night) in the life of a West Virginny girl in the Big City. It…

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Denmark vs. Afghanistan: The Moral Dilemma of A War »

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By Elias Savada. In a world forever at war, Denmark doesn’t float to the top of the list as a country promoting military…

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Young Orson: The Years of Luck and Genius on the Path to Citizen Kane by Patrick McGilligan »

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A Book Review by Tony Williams. I must admit that I approached this book with hesitation. Although the author has edited excellent…

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Reframing Realism in My Beautiful Laundrette »

Laundrette

By William Repass.  “You’re dirty. You’re beautiful.” “What is it that the gora Englishman always needs? Clean clothes!” In the world of…

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The Apu Trilogy: Satyajit Ray’s Masterpiece »

Apu 03

By Christopher Sharrett. I usually begin a review of a piece of neglected film history with a tirade about the state of…

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The Languid Approach of Hou Hsiao-Hsien’s The Assassin »

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By Cleaver Patterson.  In 8th century, Tang Dynasty China, Nie Yinniang (Qi Shu) has lived for many years, isolated from her family…

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A Journey Into Darkness: Bleak Street »

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By Elias Savada. Mexico’s grand auteur Arturo Ripstein is in fine neorealistic form with his devilishly depressing feature Bleak Street (La calle de…

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The 2015 Oscars and the Curious Case of the Missing Moldovans: Anatol Durbală’s What a Wonderful World »

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By Brandon Konecny. As we gear up for Academy Awards, it’s important to note the countries not taking part in this all-too-American…

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Gasping for Air: Moonwalkers »

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By Elias Savada. The other day North Korea exploded what it called a hydrogen bomb, when, in reality (we’re told), it wasn’t all…

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The Stooped Grandfather from Hell – Burroughs: The Movie »

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By Christopher Sharrett. William S. Burroughs is often regarded as the King of the Beats, the central figure of the Beat Generation…

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Subtle and Formidable: Mustang »

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By Elias Savada. The emotional stability of five delightfully effervescent sisters is mightily tested in Mustang, a biting and anguishing indictment of conservative…

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Fragments of the Past in Pastoral: To Die in the Country »

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By Giuseppe Sedia.  In a certain way, Shûji Terayama never reached a point in his career when he felt the need to…

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Wild Boys of ’80s – Electric Boogaloo: The Wild, Untold Story of Cannon Films »

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By Sotiris Petridis. Filmmaker Mark Hartley’s (2008’s Not Quite Hollywood, 2010’s Machete Maidens Unleashed!) latest delightful chronicle of B-movie splendor, Electric Boogaloo: The…

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Music in Bits (and Debris): Hot Sugar’s Cold World »

Hot Sugar 01

By Elias Savada. “Anything can be turned into anything.” So says scruffy, droopy-eyed musician/music producer Nick Koenig, the eponymous subject of writer-producer-director Adam…

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The Big Short: The Funny Side of Financial Collapse »

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By Elias Savada. Mention the words “subprime mortgage” and people start dozing, or leave the room. Hey, you! Yes, you! Wake up. And…

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Awakening the Legacy from Here?: Star Wars: the Force Awakens »

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By Paul Risker. Stories as in life have no true beginning, middle or end. Rather they are just a series of events…

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An Antidote for Loneliness: Dreams Rewired »

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By Jude Warne. “What is the good of all this progress? By overcoming distance we overcome difference.” True – it seems likely that…

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Spike Gets His Groove Back: Chi-Raq »

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By Elias Savada. I was ready to give up on Spike Lee after suffering through Red Hook Summer, his 2012 scattershot meditation on…

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Simple, Beautiful Perfection in Brooklyn »

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By Elias Savada. It’s interesting that novelist-screenwriter-producer Nick Hornby and director John Crowley previously have been best known in the world of…

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A Master and a Masterpiece: Hitchcock/Truffaut »

Francois Truffaut and Alfred Hitchcock

By Robert K. Lightning. The historic 1962 interview of Alfred Hitchcock by Francois Truffaut (ironically tape recorded and photographed, but apparently unfilmed)…

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“Cause You’d Rather Live for the Thrill of it All” – A Wealthy Woman with a Hell of an Art Collection: Peggy Guggenheim: Art Addict (2015) »

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By Jude Warne. “Her voice is full of money,” Jay Gatsby says of his love Daisy Buchanan in F. Scott Fitzgerald’s 1925…

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Larry Cohen: The Stuff of Gods and Monsters (2015) »

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A Book Review by Tony Williams. Those fortunate enough to have met or interviewed Larry Cohen are always amazed by his detailed…

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Room: Woman and the Domestic Household »

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By Christopher Sharrett. Lenny Abrahamson’s Room, adapted from a recent novel by Emma Donoghue, is a “true crime” thriller of important resonance.…

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The Perils of Perfume: Stink! (2015) »

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By Jude Warne. Jon Whelan acted solely as a concerned parent when he chose to investigate why his daughter’s new pajamas, which…

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A Life Laid Bare: Tab Hunter Confidential »

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By Elias Savada. Producer-director-editor Jeffrey Schwarz – I Am Divine (2013), Vito (2011), Spine Tingler! The William Castle Story (2007) – is back in original…

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Trumbo: Wit in the Face of Pathos »

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By Matthew Sorrento. Dalton Trumbo’s story is an ideal one to represent the golden age of Hollywood. A famed screenwriter with literary roots (as…

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Caustic Commentary on Millennials in Horror: The Case of The Funhouse Massacre »

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By Sotiris Petridis. The horror film usually incorporates social critiques within its filmic texts. The Texas Chainsaw Massacre (1974) has been described as…

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The Shooting and Ride in the Whirlwind: Titles that Don’t Lie (and a Jack Nicholson who Doesn’t Flip Out! – Yet) »

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By Jude Warne.  The Shooting and Ride in the Whirlwind (both 1966), recently released as a joint Blu-ray set via The Criterion…

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The Weird World of Aimy in a Cage »

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By Elias Savada. It’s not just that the always quirky Crispin Glover is featured in Aimy in a Cage that makes it…

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From Dust to Glory: Speed Sisters »

Speed Sisters

By Elias Savada. I’m not sure NASCAR saw this coming. I sure didn’t. Speed Sisters, which has been racing about the documentary film…

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Gut(s) and Glory: Lucha Mexico »

Lucha

By Elias Savada. The smog hangs lightly over the partly cloudy skies of Mexico City as this story begins. A guitar with…

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A Long, Strange Trip: Sam Klemke’s Time Machine »

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By Elias Savada. Australian director-writer Matthew Bate (responsible for the fly-on-the-wall 2011 documentary Shut Up Little Man: An Audio Misadventure) took an…

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The Visual Desolation of Denis Villeneuve’s Sicario »

SICARIO

Day 01

By Kyle Huffman.  “Cinema is a matter of what’s in the frame and what’s out of the frame.” This seemingly direct estimation…

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Falling Apart Badly: Miss You Already »

Miss You

By Elias Savada. I suspect the issues I have with the new Drew Barrymore-Toni Collette BFF “dramedy” Miss You Already (including a 112-minute,…

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Dread in the Family: Luciferous »

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By Elias Savada. An escalating madness is the center of the disturbing world of Luciferous, a slow boil screamer presented at this…

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Reviewing the narratively challenged Masaan »

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By Devapriya Sanyal. To me Masaan (2015) didn’t give the feeling of eternal life flowing by, in its depiction its multifarious stories,…

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Beyond the Resolution: On the Series Witnesses (Les Témoins, 2015) »

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By Paul Risker.  From the hustle and bustle of Paris, the stage for Spiral (Engrenages, (2005-)) and Braquo (2009-2014), the new French…

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Many Selves: The Horror and Fantasy Films of Paul Wegener (2012) »

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A book review by Tony Williams.  Though mostly well known to western audiences for playing the title characters in The Student of…

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New Age Emptiness: Jose Nester Marquez’s Reversion »

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By Elias Savada. There’s a glossy bio-tech veneer bubbling up in Jose Nester Marquez’s new feature, Reversion. Despite its high concept sci-fi storyline…

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Features

An Ogre’s Hide: Samad and Foolad Zereh, the Ogre »

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By Ramin S. Khanjani. For many avid followers of Iranian cinema across the world, the experience of this national cinema justifiably doesn’t…

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Monstrous Gaze: The Quandary of Spectatorship in La dolce vita »

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By William Repass. In the thematic arc formed by Fellini’s body of work, La dolce vita  (1960) can be said to represent…

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The Way, Way Back: An Appreciation »

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By Christopher Sharrett. Some months ago I saw The Way, Way Back (2013) and was taken by it enough to buy the…

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Peter Bogdanovich: The Comedy Smuggler »

She's Funny That Way

By James Knight. This August will see the US theatrical release of She’s Funny That Way, the latest feature from Peter Bogdanovich.…

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Mise-en-scène and the Rebirth of Film »

Man of the West

By Tom Silva. Film is a living thing and so it faces an unending series of deaths. Like the mythic hero in…

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Fair Game: Democratic Principle in Hollywood Romances, from Tracy and Hepburn to the Present »

Fair Game

By Robert K. Lightning. Lovers that demonstrate both spiritual affinity and spiritual equality have long been popular in middle-class entertainment. Repartee has…

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End of a Saga: Andrzej Wajda’s Wałęsa: Man of Hope »

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By Geoffrey Fox. The credits roll over a black-and-white newsreel of missiles and men parading before an austere Leonid Brezhnev in Moscow…

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Discovering Mary Pickford »

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By Tony Williams. The title of this article has a double meaning. It is primarily a reworking of that lavishly illustrated and…

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“Thinking as Negation”: Adorno, Vertigo, and the Paradoxical Promise of Popular Cinema »

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By Benjamin Bergholtz. “Each single manifestation of the culture industry inescapably reproduces human beings as what the whole has made them.” (Adorno…

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The Agony of Woman in Gett: The Trial of Viviane Amsalem »

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By Christopher Sharrett. Ronit and Shlomi Elkabetz’s Gett: The Trial of Viviane Amsalem is a work of such staggering importance that its…

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The Pictures of a Lady: In Praise of Grace Kelly »

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By Daniel Garrett. Some old films have a special appeal. They might not be excellent or particularly beloved objects, and yet they…

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Motherhood and Mourning in Giuseppe Tornatore’s The Unknown Woman »

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By Francesco Pascuzzi. Already with the film’s title, Giuseppe Tornatore’s The Unknown Woman (La Sconosciuta, 2005) sets out to toy with the…

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Un Flic: Melville and the Ambiguities »

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By Tony Williams. On initial release, Jean-Pierre Melville’s Un Flic (1972) disappointed many and has remained in critical limbo to the present…

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Stand, Men of the West! The Battle for Middle-earth (and Britain) »

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By Laura Crossley. “You’ve enjoyed the film, so now what are you going to do about the message? Tolkien didn’t just write…

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Radical Film-Making and Digital Paradox: the case of The Fourth Estate »

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By Elizabeth Mizon and Lee Salter. Digital media technologies are full of paradoxes. On one hand they are said to open up…

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The Trials of Love, Justice, and Prejudice: Tom Hanks and Jonathan Demme’s film Philadelphia »

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By Daniel Garrett. In the film Philadelphia (1993), written by Ron Nyswaner and directed by Jonathan Demme, the actor Tom Hanks is…

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On the Trail of Missing Millions in Emerging Europe: What Happened to a Fortune in Slovenian A/V Rights Due to Artists and Producers? »

Branko Djuric in No Man's Land (2001)

By Noah Charney. Branko Djuric, who goes by the nickname Djuro, is one the biggest film and television stars of the former…

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The Site of Nature: Exteriority and Overexposure in The Thin Red Line »

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By Trevor Mowchun. “Have mountains, and waves, and skies, no significance but what we consciously give them, when we employ them as…

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In Defense of Hitchcock and Serious Criticism »

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By Robert K. Lightning. “It follows that the critic should read without inappropriate bias. We cannot properly object to The Pilgrim’s Progress,…

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Humanities in the Digital Era »

Lemmy Caution & Dr. Von Braun in Alphaville

By Wheeler Winston Dixon. We live in the age of the visible invisible; everything is supposedly available to us online, but in…

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The Fault in Our Films: Hollywood and the Illness Narrative »

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By Sheana Ochoa. Anyone who has watched the scene in the trailer of The Theory of Everything when Stephen Hawking’s character pulls…

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The Babadook: Ghosts in the Bedroom »

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By Christopher Sharrett. Australian filmmaker Jennifer Kent’s The Babadook is last season’s fascinating, much-discussed contribution to the horror film, a genre that…

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Revulsion and Derision: Antichrist, The Human Centipede II and the British Press »

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By Martin Smith. Despite increased transparency and liberalisation at the British Board of Film Classification (BBFC) in recent decades, Britain remains one…

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Lost in Space »

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By Rajko Radovic. “I’m gonna wait till the stars come out. And see them twinkle in your eyes. I’m gonna wait till…

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“Isn’t it Bromantic?” – The Whole Damn Sony Mess, and What It Means »

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By Wheeler Winston Dixon. Now that some time has elapsed between the Sony hack and the release of the film that apparently…

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The Best of 2014 – and the Most Overrated »

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By Film International. Another film year has come to an end and it’s time to sum up. Here are the films that…

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Tati Time: Criterion Delivers The Complete Jacques Tati »

Playtime

By Jeremy Carr.  Aside from his general lack of recognition as one of film history’s great comedians, the most tragic part of…

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“A Giant Gutter in Outer Space”: On the Schopenhauerian Themes of HBO’s hit series True Detective »

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By Mathijs Peters. Introduction Arthur Schopenhauer’s philosophy, which Samuel Beckett defined as “an intellectual justification of unhappiness – the greatest that has…

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The Radical Film Network: for sustainable, oppositional film culture »

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By Steve Presence. “Today we do not really have any ‘centralized’ hubs like Indymedia anymore. What we do have is a proliferation…

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Five Iranian Voices on Reza Mirkarimi’s Today »

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COLLECTED AND INTRODUCED BY AMIR GANJAVIE. Reza Mirkarimi’s Today (Emrooz, 2014) was selected to represent Iran at the 2015 Oscars despite being…

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“Turn It Off!” – Sound and Silence in 1960s British Gothic Cinema »

Dracula, Prince of Darkness

By Wheeler Winston Dixon. It’s Halloween once again, and as one might suspect, American cable networks are offering a cornucopia of horror…

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The Representation of Men in the Films of Abdol Reza Kahani, Houman Seyedi and Bahram Tavakoli »

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By Asal Bagheri. [Editor’s note: This essay is published here in conjunction with the publication of Film International 69, vol. 12, no.…

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Jafar Panahi’s The Mirror: On Political Film in Post-Revolutionary Iranian Cinema »

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By Sara Saljoughi. [Editor’s note: This essay is published here in conjunction with the publication of Film International 69, vol. 12, no.…

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The Malick Illusion: Perceptual segmentation in The Thin Red Line »

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By Luis Antunes Rocha. “The image, in terms of sound, always has the basic nature of a question. Fundamental to the cinema…

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Toward the Limit: Michael Bay’s Transformers: Age of Extinction »

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By Carol Vernallis. Michael Bay poses a problem. He is the second-highest-grossing director, after Spielberg, so it’s not surprising that critics and…

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Santo in the Museum of the Mexican Film Industry »

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By John Burns. It seems that a number of historians and critics of Mexican film would be happier if the films starring…

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A World of Constant Peril: Seriality, Narrative, and Closure »

Lost City of the Jungle

By Wheeler Winston Dixon. What are we watching now at the movies, or on television or Netflix for that matter?[1] Serials –…

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Nixon – Oliver Stone’s Rough Beast Slouching »

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By Tony Williams. Like most of his films, Oliver Stone’s Nixon (1995) generated considerable critical debate usually emphasizing questions of historical accuracy…

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United 93: A Social Conscience and the Ease of Historicism (A 10th Anniversary Retrospective) »

By David Ryan. Before United 93 opened ten years ago, the film’s previews were greeted with varying degrees of stress and grief. Although some theaters threatened to pull the previews…

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All the Fire: The use of sexual imagery as a way for attracting cinema audiences in 1950s America »

By Anthony Uzarowski. The 1950s are often seen as the time of Hollywood’s greatest splendour, yet the reality of the time was plummeting cinema attendance, which by 1953 came to…

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SW Feat

Star Wars Episode VII: Feminism from “Far, Far Away” »

By Sotiris Petridis. Introduction The Star Wars saga is an internal and important part of popular culture since its first filmic text back in 1977. Apart from the films, there…

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Cannibalized Chaos: Iago, The Joker and the “Good Sport” of Postmodernism »

By Richmond B. Adams. During a conversation approximately one-third of the way through The Dark Knight (2008), Bruce Wayne (Christian Bale) expresses to Alfred Pennyworth (Michael Caine) his view concerning…

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The Sentinel Excavated »

By Christopher Sharrett. I use the word “excavated” in my title not because the 1977 horror film The Sentinel , directed by Michael Winner, is lost to film history, but…

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The Assassin: Frustrating or rewarding?

The Best and the Most Overrated of 2015 »

By Film International. The editors’ Top 10 and Overrated 10 include films that were released in the editors’ respective regions during 2015. They have been selected by Daniel Lindvall (editor-in-chief,…

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The Show of Shows

CGI and the Audience: Things Better Left Unsaid »

By Fred Wagner. The Show of Shows (2015), a recently released documentary made out of archive footage shows the lost world of the circus – a cornucopia of acts the…

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The Battle for Fair Remuneration: A Slovenian Drama with International Consequences »

By Edgar Tijhuis. Sometimes it seems like time stood still in Slovenia. In 2009 Variety magazine reported about a “royalty battle” in central and eastern Europe. Television producers and other…

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“All My Treasures”: On Ingrid Bergman – In Her Own Words (2015) »

By Tony Williams. Critic-director Stig Bjorkman, well known for his studies on directors such as Woody Allen and Ingmar Bergman, has made an intriguing documentary on this well-known star to…

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I, Shakespeare by Anonymous and Last Will. & Testament »

By David Ryan. Rewriting history is a common academic enterprise, and crafting Elizabethan history – particularly Shakespearean biography – is composed recursively. Though Anonymous (2011) is neither a serious effort at…

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(((1973)))

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Kurt Vonnegut Hunter Thompson Norman Mailer Tom Wolfe William Burroughs Jonathan Miller William Burroughs Jr Jacob Bronowski Robert Hughes Bob Woodward Carl Bernstein Peter Maas Germaine Greer Ray Connolly Geoffrey…

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Traces of Postindian Survivance: Two Short Films by Jeff Barnaby »

By John Garland Winn. Jeff Barnaby, a Mi’kmaq First Nations director, was four years old when the Quebec Provincial Police raided his Restigouche Reservation to restrict salmon fishing rights. The…

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Rereading The Wire: police procedural, social games and the magic of blood »

By Rajko Radović. Blood has been shed on the asphalt at night. We see it in close-up as thin red lines spreading in all directions into the darkness and the…

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Madam Secretary: The Happy Family in Time of War »

By Christopher Sharrett. When I first took note of the television series Madam Secretary (2014-), I assumed it was a sort of promotional piece for Hillary Clinton. It may indeed…

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Guy Ritchie’s The Man from U.N.C.L.E. and the Politics of Escapism »

By Richard Grigg. Director Guy Ritchie’s 2015 film The Man from U.N.C.L.E. is of course inspired by the U.S. television series of the same name, a program that was extraordinarily…

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