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

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

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

      Jay Weissberg
      October 2019
      Issue 92
    • Woody Allen: Television as Crisis

      Jay Weissberg
      October 2019
      Issue 92
    more articles...
    Random
    • Elle

      A French Connection: Paul Verhoeven’s Elle in Tandem with Jean Renoir’s The Rules of the Game

      Jay Weissberg
      December 2016
      Feature Articles
      Issue 81
  • Festival Reports
    Recent
    • Of liberation, and of states of undress and redress both: The 54th Karlovy Vary International Film Festival

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

      Jay Weissberg
      October 2019
      Issue 92
    • 22nd Revelation Perth Film Festival

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

      Jay Weissberg
      October 2019
      Issue 92
    more articles...
    Random
    • Troubled Landscape, International Cinephilia: The 2009 AFI Fest/American Film Market

      Jay Weissberg
      April 2010
      Festival Reports
      Issue 54
  • Book Reviews
    Recent
    • This Is Not Another Reading of a Master: The Invention of Robert Bresson: the Auteur and his Market, by Colin Burnett

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

      Jay Weissberg
      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

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

      Jay Weissberg
      July 2019
      Issue 91
    more articles...
    Random
    • Nollywood: The Video Phenomenon in Nigeria edited by Pierre Barrot translated by Lynn Taylor

      Jay Weissberg
      December 2009
      Book Reviews
      Issue 53
  • CTEQ
    Recent
    • Intimate Interiors: The Long Day Closes (Terence Davies, 1992)

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

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

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

      Jay Weissberg
      October 2019
      Issue 92
    more articles...
    Random
    • Cinémathèque Annotations on Film

      Jay Weissberg
      December 2012
      Cinémathèque Annotations on Film
      Issue 65
  • Great Directors
    Recent
    • Fei Mu

      Jay Weissberg
      October 2019
      Issue 92
    • Huston, John

      Jay Weissberg
      July 2019
      Issue 91
    • Stone, Oliver

      Jay Weissberg
      July 2019
      Issue 91
    • Klapisch, Cédric

      Jay Weissberg
      March 2019
      Issue 90
    more articles...
    Random
    • Chantal Akerman

      Akerman, Chantal

      Jay Weissberg
      February 2018
      Great Directors
      Issue 86
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Author Jay Weissberg

Jay Weissberg

Jay Weissberg is an American film critic living in Rome, Italy. He writes regularly for Variety.

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Explaining Mabelescence: The 3rd Amsterdam Filmmuseum Biennale

Jay Weissberg
August 2007
Festival Reports
Issue 44
11-15 April 2007 In whatever epoch of the picture business Mabel Normand had entered, she would have been the biggest star in it. – Adela Rogers St. Johns (1) Seventy-seven years after Mabel...
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Singing with a Purpose: Wartime Propaganda and Other Themes: The 19th Cinema Ritrovato

Jay Weissberg
October 2005
Festival Reports
Issue 37
July 2–9, 2005 Few, if any, film festivals can match the extraordinary range of material on offer at Bologna's Cinema Ritrovato, now in its 19th year as the leading showcase for film restoration....
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Lido Days (and Livid Nights): The 60th Venice Film Festival

Jay Weissberg
February 2005
Festival Reports
Issue 34
September 1–11, 2004 Despite fears that Marco Müller's overt wooing of Hollywood glamour would undercut the artistic mission of the 2004 Venice Film Festival, there were enough auteurist names and...
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The 23rd Pordenone Silent Film Festival: A Consideration

Jay Weissberg
February 2005
Festival Reports
Issue 34
October 9–16, 2004 If festival director David Robinson's annual opening night greeting “Welcome home!” seems a bit corny to non-participants, it comes as a bright fillip to an audience accustomed...
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An Endless Number of Great Deeds: Film Front Weimar: Representations of the First World War in German Films of the Weimar Period (1919-1933) by Bernadette Kester

Jay Weissberg
April 2004
Book Reviews
Issue 31
As a concept, this war will surely only ever be portrayed in the arts as a time-dictated, great and insanely bloody event… (1) – Gerrit Engelke As the focus of scholarship has shifted from the...
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Report on the 22nd Pordenone Silent Film Festival

Jay Weissberg
December 2003
Festival Reports
Issue 29
What astonishes at the Pordenone Silent Film Festival (Le Giornate del Cinema Muto), which takes place annually in northern Italy, is not just the richness of 35-odd years of silent cinema but the way it...

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