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

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

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

      Mel Aguilar
      October 2019
      Issue 92
    • Woody Allen: Television as Crisis

      Mel Aguilar
      October 2019
      Issue 92
    more articles...
    Random
    • Glenda Jackson interview

      “People Say I Frighten Them”: An Interview with Glenda Jackson

      Mel Aguilar
      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

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

      Mel Aguilar
      October 2019
      Issue 92
    • 22nd Revelation Perth Film Festival

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

      Mel Aguilar
      October 2019
      Issue 92
    more articles...
    Random
    • Midnight Sun film festival review

      Midnight Sun Film Festival

      Mel Aguilar
      September 2015
      Festival Reports
      Issue 76
  • Book Reviews
    Recent
    • This Is Not Another Reading of a Master: The Invention of Robert Bresson: the Auteur and his Market, by Colin Burnett

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

      Mel Aguilar
      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

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

      Mel Aguilar
      July 2019
      Issue 91
    more articles...
    Random
    • Cinematic Spectatorship by way of Architecture: Gabriele Pedullà, In Broad Daylight: Movies and Spectators After the Cinema

      Mel Aguilar
      September 2014
      Book Reviews
      Issue 72
  • CTEQ
    Recent
    • Intimate Interiors: The Long Day Closes (Terence Davies, 1992)

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

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

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

      Mel Aguilar
      October 2019
      Issue 92
    more articles...
    Random
    • The Case of the Missing Switchboard Operator

      Love Affair or The Case of the Missing Switchboard Operator (Dušan Makavejev, 1967)

      Mel Aguilar
      March 2017
      Cinémathèque Annotations on Film
      Issue 88
  • Great Directors
    Recent
    • Fei Mu

      Mel Aguilar
      October 2019
      Issue 92
    • Huston, John

      Mel Aguilar
      July 2019
      Issue 91
    • Stone, Oliver

      Mel Aguilar
      July 2019
      Issue 91
    • Klapisch, Cédric

      Mel Aguilar
      March 2019
      Issue 90
    more articles...
    Random
    • Hong Sang-soo

      Hong Sang-soo

      Mel Aguilar
      March 2016
      Great Directors
      Issue 78
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Author Mel Aguilar

Mel Aguilar

Mel Aguilar is a Master of Arts in Media Studies (Film) candidate of the University of the Philippines Film Institute. She is currently a lecturer in the Multimedia Arts and Mass Communication department of Lyceum of the Philippines University. Her short films brought her national and international accolades at seventeen.

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When A Woman Ascends the Stairs: Naruse’s Representation of Women in Post-War Japan

Mel Aguilar
June 2015
Cinémathèque Annotations on Film
Issue 75
The international acclaim Mikio Naruse’s films received after the director’s death are an unique phenomenon in film history. Following the cinematic tradition of gendai geki (modern drama) with semblance...

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