The subversive phallocentrism of Channing Tatum: A critical analysis of Magic Mike XXL Katie Warfield July 2019 Feature Articles The breadth of depictions of feminine heroes in 2015 films was extensive. We saw butch Charlize Theron in Mad Max: Fury Road (George Miller, 2015), po...
The fluids of Roma: necropolitics and class in Cuarón’s cinematic memoir César Albarrán-Torres March 2019 Feature Articles This article argues that some of the strongest visual and symbolic elements that glue Roma together is the use of fluids as metaphors of racial and cl...
Total Cinema: Or, “What is VR?” Raqi Syed March 2019 Feature Articles In the late 1980s, throughout the ‘90s, and well into the 2000s, MIT Principle Research Scientist, Gloriana Davenport investigated the idea that movie...
“The People Are Missing”: New Refugee Documentaries and Carceral Humanitarianism Joy Castro March 2019 Feature Articles In Cinema 2: The Time-Image, Gilles Deleuze distinguishes between classical political cinema, in which “the people are there, even though they are opp...
Archived Passions, Censored Bodies: Passiflora and the Regulation of Sexuality at the NFB Jonathan Petrychyn and Claudia Sicondolfo March 2019 Feature Articles “With the near simultaneous appearance in Montreal in the summer of 1984 of Michael Jackson and Pope John Paul II, something of a definitive note for ...
After Kubrick (1927-1999): a Cinematic Legacy Jeremi Szaniawski March 2019 Feature Articles “We’re all children of Kubrick, aren’t we? Is there anything you can do that he hasn’t done?” Paul Thomas Anderson Stanley Kubrick (1927-1999) passe...
Four Years of the Nitrate Picture Show, Part 2: The “Silver Screen”, Beautiful Black and White Peter Rist March 2019 Feature Articles In Part 1 of this article, I discussed the history of my own film viewing experiences of cellulose nitrate colour prints. We now move to black and whi...
The Art of Murder: What We Have to Learn from The House That Jack Built Jensen Suther March 2019 Feature Articles I. The reception of Lars von Trier’s The House That Jack Built (2018) has, in effect, rendered the film nearly impossible to watch. Initial press r...
The Sense of Feminism Then and Now: Yours in Sisterhood (2018) and Embodied Listening in the Cinema Praxis of Irene Lusztig D. Andy Rice December 2018 Feature Articles In 1972, Ms. editor Jane O’Reilly coined the term “click!” in an article titled “The Housewife’s Moment of Truth.” “Click,” she said, referred to “tha...
Audience and Performance in Kid Auto Races at Venice Macy Todd December 2018 Feature Articles I. Intro: Where Are We? The film begins with a literal unity of text and image. The opening intertitle promises “Kid Auto Races at Venice, California...
Over-identification in The Castle: Recovering an Australian Classic’s Subversive Edge Matthew J. Mason December 2018 Feature Articles “My name is Dale Kerrigan, and this is my story. Our family lives at 3 Highview Crescent, Coolaroo. Dad bought this place 15 years ago for a steal...
Four Years of the Nitrate Picture Show, Part 1: Beautiful Colour – Tinting and Toning Peter Rist December 2018 Feature Articles The rationale behind the Nitrate Picture Show is that film projection is the goal of film preservation. It is only in a theatre that film curators del...
Post-Human Post-Cinema: The Opening Titles of Westworld Philip Brophy December 2018 Feature Articles Introduction HBO’s Westworld is new, modern, innovative, polyphonic, self-reflexive and existential. Yet it is simultaneously classical, postmodern, ...
Under the Cover of Cloud: An Interview with Ted Wilson and James Vaughan Annabel Brady-Brown December 2018 Feature Articles On the heels of Alena Lodkina’s Strange Colours (2017) and Soda_Jerk’s Terror Nullius (2018) comes Ted Wilson’s Under the Cover of Cloud (2018), the l...
Gestures of Resistance: An Interview with Tan Pin Pin Joanne Leow October 2018 Feature Articles Tan was born in 1969 in Singapore and was trained in law in the United Kingdom and in documentary filmmaking in the United States. Her experimental do...
AI at the Movies and the Second Coming Robert Alpert October 2018 Feature Articles The movie screens are today filled with science fiction films ranging from adventure fantasies, such as Star Wars: The Last Jedi (Rian Johnson, 2017) ...
Breaking the Synchronicity: An Interview with Rana Eid Andreea Patru October 2018 Feature Articles The experience of war has been mediated through dramas usually exploring the classical distinction between good and evil, with clear protagonists and ...
Inventing Rituals: Cultural Politics in Zhang Yimou’s Historical Films Radha O'Meara October 2018 Feature Articles Zhang Yimou’s films Raise the Red Lantern (1991) and Judou (1990) were widely criticised for historical misrepresentation, because the rituals they re...
Red Hollywood: An Interview with Thom Andersen Simon Petri October 2018 Feature Articles Cinephile, historian, filmmaker and one of the most knowledgeable persons I’ve ever met, Thom Andersen visited the Austrian Filmmuseum during the fall...
Story of Home: The Paternal Legacy of Black Panther Laleen Jayamanne October 2018 Feature Articles We hear the voices of a father and a son talking to each other over a black screen (accompanied by soft string music), in the very opening moments of ...
When You See Me Again It Won’t Be Me: The Metamorphosis, Franz Kafka and David Lynch’s Life-long Obsession Hossein Eidizadeh October 2018 Feature Articles “As Gregor Samsa woke one morning from uneasy dreams, he found himself transformed into some kind of monstrous vermin. He lay on his hard, armor-like ...
Three Mothers Redux: Kathy Acker, Pina Bausch, Tilda Swinton and Luca Guadagnino’s Suspiria Alexandra Heller-Nicholas October 2018 Feature Articles Amongst the 260 odd pages of Kathy Acker’s 1993 experimental novel My Mother: Demonology, somewhere near the front of that iconic postmodern feminist ...
You Live Till You Die: Fatih Akin’s Hesitant Vigilante Ayten Tartici June 2018 Feature Articles Born in Hamburg to Turkish parents, the director Fatih Akin has never been shy of politics made personal. His films have long preoccupied themselves w...
The Doors of Reception: Notes Toward a Psychedelic Film Investigation David Church June 2018 Feature Articles I ask of film what most North Americans ask of psychedelic drugs. The difference being that when one creates a psychedelic film, he need not create a ...
Darkness Itself Made Plastic: The Forms and Formlessness of Jacques Rivette’s La Belle Noiseuse Sherry Johnson June 2018 Feature Articles If one hobbyhorse races a few strides ahead of others in the films of Jacques Rivette, that hobbyhorse is probably his conspicuous and ongoing obsessi...
Valeska Grisebach’s Western: an unacknowledged remake of Samuel Fuller’s Run of the Arrow Peter Verstraten June 2018 Feature Articles The oddest thing about Western (2017), the third feature film by the German director Valeska Grisebach after Mein Stern (Be My Star, 2001) and Sehnsuc...
“The absolute and ultimate manifestation of the power of the mind over technology”: Gaspar Noé talks 2001: a Space Odyssey Pip Chodorov and Jeremi Szaniawski June 2018 Feature Articles This interview was conducted in person by Pip Chodorov, with additional questions by Jeremi Szaniawski, at the Cannes Grand Hotel, 18 May 2018. It was...
The Dionysian Stage of 2018: Interview with Gabriel Abrantes and Daniel Schmidt Daniel Fairfax June 2018 Feature Articles 2018 is a World Cup year, so it is only to be expected that football-themed films will proliferate. None, however, are likely to be anywhere near as d...
“A Very YES, AND Person”: An Interview with Emma-Kate Croghan Doosie Morris June 2018 Feature Articles In 1995 faux-fur coats and matte lipstick were a big thing, Café Rumbarellas was on Brunswick Street and Australians still had a discernible accent. ...
Virtually Present, Physically Invisible: Virtual reality immersion and emersion in Alejandro González Iñárritu’s Carne y Arena Adriano D'Aloia June 2018 Feature Articles The freezing cement stings my heels while, in total solitude, I find myself looking at a pair of sneakers, abandoned beneath a shiny metal bench. The ...
“Why do you need me to tell you all the secrets?”: An Interview with Denis Côté Tomáš Hudák June 2018 Feature Articles French-Canadian auteur Denis Côté is probably best known for his Best Directing prizes at Locarno for his films Elle veut le chaos (All That She Wants...
The Embrace of the Serpent and the dark legacy of the rubber holocaust Mauricio Rivera June 2018 Feature Articles Like Francis Ford Coppola's Apocalypse Now (1979), The Embrace of the Serpent, directed by Colombian director Ciro Guerra (2015), may at first sight b...
Some thoughts on the erotic aesthetic in Luca Guadagnino’s ‘Desire Trilogy’ Joanna Di Mattia March 2018 Feature Articles Desire is a wish; a risk; a hunger. Desire starts with an arousal that then becomes a yearning. It alters our perception and changes our molecules. To...
“A Film is a Synthesis”: An Interview with Ventura Pons Jytte Holmqvist March 2018 Feature Articles Highly prolific Catalan filmmaker Ventura Pons (born 25 July 1945) sees the world through a cinematic lens. He argues that “a film is based on three e...
Sustaining a Cinema of Modest Means: An Interview with Ted Fendt, Ricky D’Ambrose and Graham Swon Brigitta Wagner March 2018 Feature Articles Despite the controversy surrounding Dieter Kosslick’s imminent departure after a long tenure as director of the Berlin International Film Festival and...
Le Fidèle as a Postmodern Love Romance: The Flemish Crime Dramas of Michaël R. Roskam Peter Verstraten March 2018 Feature Articles Because of the almost insurmountable linguistic barrier between Flemish in Flanders and French in Wallonia, the history of twentieth-century Belgian c...