By Theresa Rodewald. In my books on ’50s noir, I was particularly intrigued with how certain ‘structures of feeling’ impact the genre, be it ‘the Bomb’ or the ‘red scare,’ the civil rights movement or the beginning of the end of the classical studio system.” The 1940s and 1950s are […]
ONLINE | Thinking Film Since 1973
Jenny Paola Ortega Castillo
Dead Souls on the U.S. Border: On Alex Cox’s “Final Film”
William Blick
Questioning Authority: Jim Towns’ Mercy
