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  • Features
    Recent
    • American Utopia: Socio-economic Critique and Utopia in American Honey and The Florida Project

      Alice Xiang
      October 2019
      Issue 92
    • Intimate Terrains: Contemporary German Cinema, Migration, and the Films of Aysun Bademsoy

      Alice Xiang
      October 2019
      Issue 92
    • Cinema Never Dies: Abbas Kiarostami’s 24 Frames and The Ontology of the Digital Image

      Alice Xiang
      October 2019
      Issue 92
    • Woody Allen: Television as Crisis

      Alice Xiang
      October 2019
      Issue 92
    more articles...
    Random
    • Phantoms Came to Meet: Guy Maddin’s Seances as Surrealist History of Cinema

      Alice Xiang
      December 2017
      Feature Articles
      Issue 85
  • Festival Reports
    Recent
    • Of liberation, and of states of undress and redress both: The 54th Karlovy Vary International Film Festival

      Alice Xiang
      October 2019
      Issue 92
    • This Is the Way the World Ends: The 10th Odesa Film Festival

      Alice Xiang
      October 2019
      Issue 92
    • 22nd Revelation Perth Film Festival

      Alice Xiang
      October 2019
      Issue 92
    • Sharing My Journey: Women and the 2019 Toronto International Film Festival

      Alice Xiang
      October 2019
      Issue 92
    more articles...
    Random
    • Cold Song: The 37th Göteborg International Film Festival

      Alice Xiang
      March 2014
      Festival Reports
      Issue 70
  • Book Reviews
    Recent
    • This Is Not Another Reading of a Master: The Invention of Robert Bresson: the Auteur and his Market, by Colin Burnett

      Alice Xiang
      October 2019
      Issue 92
    • From April! April! to Imitation of Life: The Films of Douglas Sirk, by Tom Ryan

      Alice Xiang
      October 2019
      Issue 92
    • “Mesdames, mesdemoiselles, messieurs: un classique!”: Eric Rohmer’s Film Theory (1948-1953) – From ‘École Scherer’ to ‘Politique des Auteurs’ by Marco Grosoli

      Alice Xiang
      October 2019
      Issue 92
    • Political Gestures: Cinema/Politics/Philosophy, by Nico Baumbach

      Alice Xiang
      July 2019
      Issue 91
    more articles...
    Random
    • Third Time’s the Charm: Film Trilogies: New Critical Approaches by Claire Perkins and Constantine Verevis

      Alice Xiang
      June 2013
      Book Reviews
      Issue 67
  • CTEQ
    Recent
    • Intimate Interiors: The Long Day Closes (Terence Davies, 1992)

      Alice Xiang
      October 2019
      Issue 92
    • “Judge Tenderly of Me!”: Terence Davies’ Letter to Emily Dickinson in A Quiet Passion (2016)

      Alice Xiang
      October 2019
      Issue 92
    • Autoluminescent: Rowland S. Howard (Lynn-Maree Milburn & Richard Lowenstein, 2011)

      Alice Xiang
      October 2019
      Issue 92
    • Hear That Lonesome Whippoorwill: Terence Davies’ The Neon Bible (1995)

      Alice Xiang
      October 2019
      Issue 92
    more articles...
    Random
    • Cinémathèque Annotations on Film

      Alice Xiang
      July 2012
      Cinémathèque Annotations on Film
      Issue 63
  • Great Directors
    Recent
    • Fei Mu

      Alice Xiang
      October 2019
      Issue 92
    • Huston, John

      Alice Xiang
      July 2019
      Issue 91
    • Stone, Oliver

      Alice Xiang
      July 2019
      Issue 91
    • Klapisch, Cédric

      Alice Xiang
      March 2019
      Issue 90
    more articles...
    Random
    • Dovzhenko, Alexander

      Alice Xiang
      December 2018
      Great Directors
      Issue 89
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Author Alice Xiang

Alice Xiang

Alice Xiang is a Doctoral candidate in the Department of Comparative Literature at Harvard University. She generally divides her time between Boston, Beijing, and a handful of other favourite cities.

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‘When Ordinary Seeing Fails’: Reclaiming the Art of Documentary in Michelangelo Antonioni’s 1972 China Film Chung Kuo

Alice Xiang
July 2013
Feature Articles
Issue 67
Introduction and Context: (Up)Setting the Stage “It was the mid-1970s,” reminisces a Chinese blogger, writing over three decades later in November 2009. “I was in my third year of primary school … in...

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