Issue 49
The Living London Boom
Following on from Ian Christie’s appreciation of the significance of Living London, historian Sally Jackson traces the exhibition history of the film within Australia and
The Girl with the Speck of Dust in Her Eye: Living London Returns
Noted film historian Ian Christie celebrates the discovery of a rare and precious fragment of film that opens a window on London at the turn
Brave New World: Some Reflections on the Digital Revolution in General and Digital Cinema in Particular
As the effects of digital technology become increasing pervasive within contemporary culture, Sally Shafto discusses what uses it is put in a range of auteur
Rewriting Hollywood History in Julie Dash’s Illusions
Wes Felton analyses this 1982 film set in 1940s Hollywood and its pungent allegory about the racial politics of image/sound displacement
The Saragossa Manuscript
A new article to coincide with screenings at the Australian Centre For the Moving Image in Melbourne
Andrei Tarkovsky: Truth Endorsed by Life
An essay that reflects on Andrei Tarkovsky’s two seminal works, Solaris and Stalker, in the light of the Spanish philosopher José Ortega y Gasset’s reference
The Darjeeling Limited and The New American Traveller
An insightful comparison of Wes Anderson’s film with Dennis Hopper’s Easy Rider. Emily May charts the long road travelled in screen depictions of the American
Naked Bodies and Troubled Souls: Antonioni and the Ways of the Flesh
Tony McKibbin examines what he calls the “ontological problem of nudity in Michelangelo Antonioni’s work”. A refreshing focus on an aspect of Antonioni’s films not
Arthur Shields and the Politics of Jean Renoir’s The River
Irish actor and Nationalist Arthur Shields was a figure of considerable historical significance. While he worked with John Ford, arguably his collaboration with Jean Renoir
Gleaming Faces, Dark Realities: Dušan Makavejev’s Man Is Not a Bird and the Representation of the Working Class after Socialist Realism
Penetrating analysis of Dušan Makavejev’s 1965 first feature film in the light of its critique of the social realist æsthetic and Communist ideology of the