Features

By Johannes Schönherr. Like the leading article in the Party paper, the cinema should have mass appeal and should keep ahead of new developments, thus playing a mobilizing role in each stage of the revolutionary struggle. – Kim Il Sung I. 7th Pyongyang Film Festival of Non-Aligned and Other Developing […]

By Santiago & Andrés Rubín de Celis. Very little has been written by critics and film reviewers in the English language about the films of the Argentinean director Hugo Fregonese. His Hollywood years, from 1950 to 1956, including a whole of eleven films, were only a short period within his […]

By Daniel Gronsky. An Actor’s Revenge(Yukinojo Henge, 1963) is one of director Ichikawa Kon’s more infrequently remarked upon films. Despite the exceptional quality of the film, An Actor’s Revenge is often passed over in favor of examining Ichikawa’s earlier, more popular works, such as Conflagration (Enjo, 1958), Fires on the […]

By Omar Hassan. In the post-Brokeback Mountain era of film-making, cinematic representations of homosexuality no longer conjure up lengthy debate or public controversy. Producers have developed the assumption that the LGBT community (who are generally believed to possess a higher disposable income) are hungry for media to consume. As such, […]

By Moira Sullivan. Maria Schneider plays Jeanne in Last Tango in Paris, a young woman who confronts her sadistic attacker Paul, played by a much older Marlon Brando, and shoots him. Schneider sums it up: “I must say that the murder in the end of the film did me much […]

    By Matthew Gumpert. “The greatest trick the Devil ever pulled was convincing the world he didn’t exist.” (Roger “Verbal” Kint, The Usual Suspects [1995])     The Oz Effect   The 1963 film Jason and the Argonauts (directed by Don Chaffey), a Hollywood version of the Hellenistic epic, […]

By Jacob Mertens, Honorable Mention in the 2010 Frank Capra Award for Excellence in Undergraduate Film Criticism. There was a moment in my life when movies became an obsession. When I was much younger, I watched films with a casual interest. I felt the same indiscriminate, escapist rush from plunging […]

By Saër Maty Bâ. INTRODUCTION If ‘race’ is dead, the circumstances of its passing must be examined, its funeral organised and – without assumption, endorsement or dismissal – new critical, post-racial processes triggered and affected. Why is ‘post-race’ still an imprecise discourse? Could end-of-‘race’ be a tool for reading (racial) […]

By Gary McMahon. What has no power, no money, and can bite your fucking head off? Find out by downloading this pdf:  oN_thE_eDGe[1]. [This piece was originally published in b/w in Film International 43, vol. 8, no. 1, 2010. Here is the full colour version.] Share

By Linda Hutcheson. ‘Incredibly, in many European countries, the attitude still exists that a good film shouldn’t really have to be marketed at all, that the public will somehow instinctively find and appreciate artistic quality without the assistance of a vulgar marketing campaign.’ (Puttnam 1997: 314, emphasis in the original) […]