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  • Features
    Recent
    • The Sense of Feminism Then and Now: Yours in Sisterhood (2018) and Embodied Listening in the Cinema Praxis of Irene Lusztig

      A. Jay Adler
      December 2018
      Issue 89
    • Audience and Performance in Kid Auto Races at Venice

      A. Jay Adler
      December 2018
      Issue 89
    • Over-identification in The Castle: Recovering an Australian Classic’s Subversive Edge

      A. Jay Adler
      December 2018
      Issue 89
    • Four Years of the Nitrate Picture Show, Part 1: Beautiful Colour – Tinting and Toning

      A. Jay Adler
      December 2018
      Issue 89
    more articles...
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    • Assaulting Wall Street Pour la Beauté du Geste

      A. Jay Adler
      July 2013
      Feature Articles
      Issue 67
  • Festival Reports
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    • #Youmustsee: The 2018 Adelaide International Film Festival

      A. Jay Adler
      December 2018
      Issue 89
    • Towards the De-masculinisation of Korean Cinema: The 23rd Busan International Film Festival

      A. Jay Adler
      December 2018
      Issue 89
    • Between Hollywood and the Socialist/Colonial East: The 5th Hanoi International Film Festival

      A. Jay Adler
      December 2018
      Issue 89
    • Film Culture and Corporate Enterprise at the 62nd BFI London Film Festival

      A. Jay Adler
      December 2018
      Issue 89
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    • Oberhausen film festival review

      Exploring the Liminal Space between Selection and Curation: 61. Internationale Kurzfilmtage Oberhausen

      A. Jay Adler
      June 2015
      Festival Reports
      Issue 75
  • Book Reviews
    Recent
    • Beyond Thumbs Up or Down: Aesthetic Evaluation and Film, by Andrew Klevan

      A. Jay Adler
      December 2018
      Issue 89
    • Film in a Multiple Mirror: Reframing Luchino Visconti: Film and Art by Ivo Blom

      A. Jay Adler
      December 2018
      Issue 89
    • McCarthyism’s Hollywood Year: Show Trial: Hollywood, HUAC, and the Birth of the Blacklist, by Thomas Doherty

      A. Jay Adler
      December 2018
      Issue 89
    • The Semiotics of Wes Anderson: Wes Anderson’s Symbolic Storyworld: A Semiotic Analysis, by Warren Buckland

      A. Jay Adler
      December 2018
      Issue 89
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    Random
    • Cinema Affairs: Fiery Cinema: The Emergence of an Affective Medium in China, 1915-1945, by Weihong Bao

      A. Jay Adler
      October 2018
      Book Reviews
      Issue 88
  • CTEQ
    Recent
    • Fractured images and tainted dreams: Sergio Leone’s Once upon a Time in America

      A. Jay Adler
      February 2019
    • Ida Lupino’s Hard Noir: Private Hell 36 (Don Siegel, 1954)

      A. Jay Adler
      October 2018
      Issue 88
    • Hail (Amiel Courtin-Wilson, 2011)

      A. Jay Adler
      October 2018
      Issue 88
    • A City in Transition in Taipei Story (Edward Yang, 1985)

      A. Jay Adler
      October 2018
      Issue 88
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    • La Peau douce

      La Peau douce

      A. Jay Adler
      March 2018
      Cinémathèque Annotations on Film
      Issue 86
  • Great Directors
    Recent
    • Takahata, Isao

      A. Jay Adler
      December 2018
      Issue 89
    • Dovzhenko, Alexander

      A. Jay Adler
      December 2018
      Issue 89
    • Weerasethakul, Apichatpong

      A. Jay Adler
      October 2018
      Issue 88
    • Oliveira, Manoel de

      A. Jay Adler
      October 2018
      Issue 88
    more articles...
    Random
    • Noyce, Phillip

      A. Jay Adler
      February 2006
      Great Directors
      Issue 38
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Author A. Jay Adler

A. Jay Adler

A. Jay Adler is Professor of English at Los Angeles Southwest College, and contributing poetry editor at West magazine. He has written on film for Bright Lights Film Journal and his journalism and essays have appeared in publications such as DoubleTake and Tikkun. He blogs at sad red earth.

thumb image

Claude Sautet: Purity and Invention

A. Jay Adler
September 2012
Feature Articles
Issue 64
What is the thing in its essential nature and how is it to be treated? Those are the two fundamental questions for the artist. They apply both to the artist’s subject and the artistic medium. The artist...

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