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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

      Hayashi Umineko
      December 2018
      Issue 89
    • Audience and Performance in Kid Auto Races at Venice

      Hayashi Umineko
      December 2018
      Issue 89
    • Over-identification in The Castle: Recovering an Australian Classic’s Subversive Edge

      Hayashi Umineko
      December 2018
      Issue 89
    • Four Years of the Nitrate Picture Show, Part 1: Beautiful Colour – Tinting and Toning

      Hayashi Umineko
      December 2018
      Issue 89
    more articles...
    Random
    • Harun Farocki

      “Keep the horizon open”: An Interview with Harun Farocki

      Hayashi Umineko
      July 2016
      Feature Articles
      Issue 79
  • Festival Reports
    Recent
    • #Youmustsee: The 2018 Adelaide International Film Festival

      Hayashi Umineko
      December 2018
      Issue 89
    • Towards the De-masculinisation of Korean Cinema: The 23rd Busan International Film Festival

      Hayashi Umineko
      December 2018
      Issue 89
    • Between Hollywood and the Socialist/Colonial East: The 5th Hanoi International Film Festival

      Hayashi Umineko
      December 2018
      Issue 89
    • Film Culture and Corporate Enterprise at the 62nd BFI London Film Festival

      Hayashi Umineko
      December 2018
      Issue 89
    more articles...
    Random
    • Festival Reports

      Hayashi Umineko
      September 2012
      Festival Reports
      Issue 64
  • Book Reviews
    Recent
    • Beyond Thumbs Up or Down: Aesthetic Evaluation and Film, by Andrew Klevan

      Hayashi Umineko
      December 2018
      Issue 89
    • Film in a Multiple Mirror: Reframing Luchino Visconti: Film and Art by Ivo Blom

      Hayashi Umineko
      December 2018
      Issue 89
    • McCarthyism’s Hollywood Year: Show Trial: Hollywood, HUAC, and the Birth of the Blacklist, by Thomas Doherty

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

      Hayashi Umineko
      December 2018
      Issue 89
    more articles...
    Random
    • Face, Flesh, Film: The Face on Film by Noa Steimatsky

      Hayashi Umineko
      June 2018
      Book Reviews
      Issue 87
  • CTEQ
    Recent
    • Fractured Images and Tainted Dreams: Sergio Leone’s Once upon a Time in America

      Hayashi Umineko
      February 2019
    • Ida Lupino’s Hard Noir: Private Hell 36 (Don Siegel, 1954)

      Hayashi Umineko
      October 2018
      Issue 88
    • Hail (Amiel Courtin-Wilson, 2011)

      Hayashi Umineko
      October 2018
      Issue 88
    • A City in Transition in Taipei Story (Edward Yang, 1985)

      Hayashi Umineko
      October 2018
      Issue 88
    more articles...
    Random
    • High Sierra

      California Dreamin’: High Sierra (Raoul Walsh, 1941)

      Hayashi Umineko
      September 2017
      Cinémathèque Annotations on Film
      Issue 84
  • Great Directors
    Recent
    • Takahata, Isao

      Hayashi Umineko
      December 2018
      Issue 89
    • Dovzhenko, Alexander

      Hayashi Umineko
      December 2018
      Issue 89
    • Weerasethakul, Apichatpong

      Hayashi Umineko
      October 2018
      Issue 88
    • Oliveira, Manoel de

      Hayashi Umineko
      October 2018
      Issue 88
    more articles...
    Random
    • von Trotta, Margarethe

      Hayashi Umineko
      December 2002
      Great Directors
      Issue 23
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Author Hayashi Umineko

Hayashi Umineko

Hayashi Umineko is a traveler, writer, filmmaker, pianist, independent researcher, and cinéphile. She is currently working on a writing project focusing on the concept of mediation in the writings of the Japanese philosopher and film theorist Nakai Masakazu (1900-1952).

thumb image

Bresson in the Marketplace: The Invention of Robert Bresson, by Colin Burnett

Hayashi Umineko
September 2017
Book Reviews
Issue 84
When François Truffaut wrote “Une crise d’ambition du cinéma francais” (1955) in his characteristically inflammatory tone, he was reacting against directors producing “canned theatre”, the...

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