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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

      John Edmond
      December 2018
      Issue 89
    • Audience and Performance in Kid Auto Races at Venice

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

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

      John Edmond
      December 2018
      Issue 89
    more articles...
    Random
    • The Older Grows the Body, the Faster Run the Machines

      John Edmond
      December 2010
      Feature Articles
      Issue 57
  • Festival Reports
    Recent
    • #Youmustsee: The 2018 Adelaide International Film Festival

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

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

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

      John Edmond
      December 2018
      Issue 89
    more articles...
    Random
    • “Ah! The cruelty of Cannes!”: The 65th Cannes Film Festival 2012

      John Edmond
      July 2012
      Festival Reports
      Issue 63
  • Book Reviews
    Recent
    • Beyond Thumbs Up or Down: Aesthetic Evaluation and Film, by Andrew Klevan

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

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

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

      John Edmond
      December 2018
      Issue 89
    more articles...
    Random
    • Displaced Allegories: Post-Revolutionary Iranian Cinema by Negar Mottahedeh

      John Edmond
      September 2009
      Book Reviews
      Issue 52
  • CTEQ
    Recent
    • See, Hear, and Speak of Evil: Three Monkeys (Nuri Bilge Ceylan, 2008)

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

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

      John Edmond
      October 2018
      Issue 88
    • Hail (Amiel Courtin-Wilson, 2011)

      John Edmond
      October 2018
      Issue 88
    more articles...
    Random
    • The Structure of Crystals

      John Edmond
      December 2010
      Cinémathèque Annotations on Film
      Issue 57
  • Great Directors
    Recent
    • Takahata, Isao

      John Edmond
      December 2018
      Issue 89
    • Dovzhenko, Alexander

      John Edmond
      December 2018
      Issue 89
    • Weerasethakul, Apichatpong

      John Edmond
      October 2018
      Issue 88
    • Oliveira, Manoel de

      John Edmond
      October 2018
      Issue 88
    more articles...
    Random
    • Leisen, Mitchell

      John Edmond
      October 2005
      Great Directors
      Issue 37
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Author John Edmond

John Edmond

John Edmond is the Co-Director of the Queensland Film Festival and an Associate Curator (film) at UQ Art Museum. Having completed his thesis on vehicle landscapes at the University of Queensland, he is now working on a forthcoming monograph on Ken Russell’s Altered States.

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Split/Screen
Cattet/Forzani

John Edmond
June 2018
Split/Screen Cattet/Forzani
Issue 87
This dossier coincides with retrospectives of the work of Hélène Cattet and Bruno Forzani at the Melbourne International Film Festival and the Queensland Film Festival in July and August, 2018. This dossier...
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Bitumen Music: Walter Hill’s The Driver (1978)

John Edmond
March 2017
Cinémathèque Annotations on Film
Issue 82
A long shot is of the human body in full view, a medium from torso up, a close-up the face or equivalent part. Humanly derived, these delineations buckle when applied elsewhere. A car in side profile is in...
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Concrete Passages: Cinema’s Baroque Flesh: Film, Phenomenology and the Art of Entanglement, by Saige Walton

John Edmond
March 2017
Book Reviews
Issue 82
The merits of Saige Walton’s Cinema’s Baroque Flesh: Film, Phenomenology and the Art of Entanglement lie in the parallels between baroque thinking and phenomenology. Here the baroque is a transhistorical...
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The Vanguard of Marketa Lazarová

John Edmond
September 2016
Cinémathèque Annotations on Film
Issue 80
Vladislav Vančura cleared the path for Marketa Lazarová (Frantisek Vlácil, 1967). Modernist, playwright, filmmaker, resistance figure, and author of the original novel (1931); Vančura was murdered by the...
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The Desired Objects of La Marge (1976)

John Edmond
May 2016
Cinémathèque Annotations on Film
Issue 79
There are two elements of Walerian Borowczyk’s work more broadly that are useful in thinking about La Marge (1976). The first of these relates to Borowczyk’s interest in the particular presence of objects:...
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The Contiguous World of Luchino Visconti’s The Leopard (1963)

John Edmond
February 2016
Cinémathèque Annotations on Film
Issue 78
In the middle of The Leopard (Il Gattopardo 1963) there is a hunting trip. The ring of Sicilian cicadas. A rabbit is killed. A conversation takes place. Don Fabrizio (The Leopard himself The Prince of Salina,...
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Miklós Jancsó’s The Confrontation (1969)

John Edmond
September 2015
Cinémathèque Annotations on Film
Issue 76
Miklós Jancsó’s The Confrontation (Fényes szelek, 1969) opens with a four-minute shot. We see the back of Judit’s head as she (Andrea Drahota, red headed) watches a convoy of police arrive. At a...

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