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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

      James Naremore
      December 2018
      Issue 89
    • Audience and Performance in Kid Auto Races at Venice

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

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

      James Naremore
      December 2018
      Issue 89
    more articles...
    Random
    • A Traitor to His Class: John Dillinger and Public Enemies

      James Naremore
      September 2009
      Feature Articles
      Issue 52
  • Festival Reports
    Recent
    • #Youmustsee: The 2018 Adelaide International Film Festival

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

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

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

      James Naremore
      December 2018
      Issue 89
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    Random
    • Documentary round up

      In a Year of European Documentary Film Festivals

      James Naremore
      December 2017
      Festival Reports
      Issue 85
  • Book Reviews
    Recent
    • Beyond Thumbs Up or Down: Aesthetic Evaluation and Film, by Andrew Klevan

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

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

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

      James Naremore
      December 2018
      Issue 89
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    Random
    • Humphrey Jennings by Keith Beattie

      James Naremore
      December 2010
      Book Reviews
      Issue 57
  • CTEQ
    Recent
    • See, Hear, and Speak of Evil: Three Monkeys (Nuri Bilge Ceylan, 2008)

      James Naremore
      February 2019
    • Fractured Images and Tainted Dreams: Sergio Leone’s Once upon a Time in America

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

      James Naremore
      October 2018
      Issue 88
    • Hail (Amiel Courtin-Wilson, 2011)

      James Naremore
      October 2018
      Issue 88
    more articles...
    Random
    • Casque d’or

      James Naremore
      November 2014
      Cinémathèque Annotations on Film
      Issue 73
  • Great Directors
    Recent
    • Takahata, Isao

      James Naremore
      December 2018
      Issue 89
    • Dovzhenko, Alexander

      James Naremore
      December 2018
      Issue 89
    • Weerasethakul, Apichatpong

      James Naremore
      October 2018
      Issue 88
    • Oliveira, Manoel de

      James Naremore
      October 2018
      Issue 88
    more articles...
    Random
    • Fellini, Federico

      James Naremore
      July 2002
      Great Directors
      Issue 21
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Author James Naremore

James Naremore

James Naremore, Indiana University, is the author of several books on film, including More Than Night: Film Noir in its Contexts (1998).

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Marlene Dietrich

James Naremore
June 2000
Cinémathèque Annotations on Film
Issue 7
A detailed discussion of Dietrich's allure, particularly during the period of collaboration with Sternberg.
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The Death and Rebirth of Rhetoric

James Naremore
April 2000
Society for Cinema Studies Conference 2000
Issue 5
This paper was presented at the Society for Cinema Studies Conference 2000 at the Congress Plaza Hotel, Chicago on March 11, 2000, as part of the panel H6: Towards a Rhetoric of Film * * * Most of the...

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