Author Adrian Danks

The careers of Raoul Walsh and James Cagney were never quite the same after White Heat (1949). As various commentators have suggested, this propulsive, machine-tooled, sardonically funny and often-brutal crime...

Barton Fink (1991), the Coen brothers’ fourth feature, represents a departure from their earlier excavations of classical American genre cinema, Blood Simple. (1984) and Miller’s Crossing (1990), as well...

An earlier version of this article first appeared in CTEQ: Annotations on Film published in Metro 109 (1997): 49-50. The Night of the Hunter is a film that I am little frightened to write about; scared that...

Although Robert Altman is now widely regarded as one of the key figures of New Hollywood cinema, he was also a significant director of mainstream US television in the late 1950s and early 1960s. Altman has a...

In the opening paragraph of their introduction to A Companion to Jean-Luc Godard, Tom Conley and T. Jefferson Kline situate a particular cinephilic response to the great Swiss filmmaker’s work in terms of...

Philippe Garrel’s J’entends plus la guitare (1991) is an intimate, unadorned roman à clef quietly but intensely covering an expanse of years in the relationship between Marianne (the extraordinary Johanna...

This is a revised version of an article that first appeared in CTEQ: Annotations on Film published in Metro, no. 199, 1999, pp. 96-97. “For twenty-five centuries, Western knowledge has tried to look upon...

This special tribute dossier is devoted to one of the true legends of Australian screen culture, the inimitable and mercurial John Flaus. It marks a little over 60 years since the start of John’s involvement...

In 1965, Agnès Varda made a short, intense documentary on the then almost 40-year relationship between the French writers Louis Aragon and Elsa Triolet. Her film predominantly and characteristically focuses...

The history of Australian cinema is littered with small-scale, unobtrusive and even intimate portraits of working and middle class life that are largely forgotten in many accounts of what is troubling called...

This dossier (the first of a projected series) on contemporary Australian filmmakers focuses on currently active directors who started making audiovisual work in the 1990s or 2000s. Although a number of these...

At the end of Orson Welles’ Touch of Evil (1958), Marlene Dietrich’s Tana wearily intones an epitaph for Orson Welles’ Hank Quinlan, a bloated, corrupt cop now floating on the surface of the river: “He...