Issue 51
The Way We Were: Jerzy Skolimowski’s Hands Up!
Rece do góry/Hands Up! (1967/1981 Poland) Prod Co: PRF/Syrena/Zespol Filmowy Dir, Art Dir: Jerzy Skolimowski Scr: Andrzej Kostenko, Jerzy Skolimowski Phot: Andrzej Kostenko, Witold Sobocinski Ed:
The Wounds of Nations: Horror Cinema, Historical Trauma and National Identity by Linnie Blake
In The Wounds of Nations: Horror Cinema, Historical Trauma and National Identity, UK lecturer Linnie Blake argues for the horror genre’s unique ability to confront
“In Between” the Moving Image: Mutant Media: Essays on Cinema, Video Art and New Media by John Conomos
With an interest in cinema tracing back to the 1960s, an involvement in video and new media art since the 1980s, coupled with a deep
Germany, Year Zero
Germania anno zero/Germany, Year Zero (1947 Italy/West Germany/France 78 mins) Prod Co: Tevere Film/Sadfilm Prod: Alfredo Guarani, Roberto Rossellini Dir: Roberto Rossellini Scr: Roberto Rossellini, Carlo
Sam Peckinpah: Interviews edited by Kevin J. Hayes
Making a picture is a big love affair, the biggest love affair in the world. – Sam Peckinpah (1) Sam Peckinpah’s personal relationships all seemed
Ken Russell
b. Southampton, England, 1927 Filmography Bibliography Web Resources Introduction “Not one word of criticism written has ever altered in any way my scripts or my next
Aki Kaurismäki
b. 4 April 1957, Orimattila, Finland Filmography Select Bibliography Web Resources Two Finns are in a bar. After hours of silence, one man raises his glass
The Day of the Claw: A Synoptic Account of Alfred Hitchcock’s The Birds
In this brilliantly imaginative piece, Ken Mogg takes several literary texts and uses them to synoptically illuminate Hitchcock’s intentions behind The Birds. Don’t for a
Luc Moullet, a Bootleg Filmmaker at the Centre Georges Pompidou
Luc Moullet is what the French call “un original”, an offbeat, quirky talent, who over a nearly fifty-year period has forged a unique filmography. Sally
“Cameron Fry, this one’s for you.” Or: Why the Sausage King of Chicago Doesn’t Turn Up for Lunch at Chez Quis
Ferris Bueller’s Day Off may be widely acclaimed as one of the greatest teen movies ever made, but at its heart lies a key (and