Issue 41
Theorising National Cinema edited by Valentina Vitali and Paul Willemen
National cinema theorists in the 1960s and ’70s narrowly defined national cinemas within prescriptive text-based criteria. However, since the onset of post-structuralist approaches to cinema
Sheep and the Australian Cinema by Deb Verhoeven
Some readers will have encountered portions of Deb Verhoeven’s book scattered through time and across the publishing landscape, in the form of several short essays
Jean Vigo by Michael Temple
Accompanying the Jean-Luc Godard show at the Centre Georges Pompidou – detailed last issue by Alex Munt – is an exhibition catalogue co-edited by Michael
Icons of Grief: Val Lewton’s Home Front Pictures by Alexander Nemerov
In Bedlam (Mark Robson, 1946), Val Lewton’s last production for RKO-Radio Pictures, there is a justly famous sequence in which a young boy – his
Ghouls, Gimmicks and Gold: Horror Films and the American Movie Business, 1953-1968 by Kevin Heffernan
If one of the benchmarks for the success of a historical analysis is its conceptual transferability onto contemporary situations, then Kevin Heffernan’s Ghouls, Gimmicks and
Leos Carax
b. Alexandre Oscar Dupont b. 22 November, 1960, Suresnes, France Filmography Select Bibliography Articles in Senses Web Resources This article also appears in Spanish in
John Frankenheimer
b. 19 February 1930, New York, USA d. 6 July 2002, Los Angeles, USA Filmography Select Bibliography Articles in Senses Web Resources Along with Sidney