Issue 52
“You’ve got to work at maintaining your version of the world. So start being alone!” An Interview with Terry Gilliam
A wide-ranging interview in which Gilliam talks at length about his life, his work, the malaise of the film industry, and the state of the
The Deep Morals of Inglourious Basterds
Is Tarantino’s latest just another pastiche of postmodern cinéphilic references? Perhaps not. Joseph Natoli looks for the moral compass in the director’s blood soaked war
Does Laughter Make the Crime Disappear?: An Analysis of Cinematic Images of Hitler and the Nazis, 1940-2007
What is a fit subject for laughter? Reimer looks at one of the most contentious of all subjects and discovers a surprisingly long history of
A Traitor to His Class: John Dillinger and Public Enemies
For all Michael Mann’s claims about the veracity of his research into Depression-Era America, Jay Rothermel argues that he has “printed the legend” more than
Artistic Encounters: Jean-Marie Straub, Danièle Huillet and Paul Cézanne
The French painter is the subject of two films by the Straubs, Une Visite au Louvre and, more significantly, Cézanne. Sally Shafto looks at the
Knowing Icons and Transforming Experience: Sergei Eisenstein’s ¡Que Viva México! (1932)
Though Eisenstein’s vision for ¡Que Viva México! was never fully realised, Gabrielle Murray argues that the version(s) we have reveals the twin influence of Russian
Marker, Resnais, Varda: Remembering the Left Bank Group
Too often overshadowed by the fame of the Nouvelle Vague, Robert Farmer gives due attention to the concurrent ‘wave’ known as the Left Bank Group
Nick’s “I”/Nick’s Eye: Why they couldn’t film Gatsby
In the light of Baz Luhrmann’s announcement that he intends to bring The Great Gatsby to the screen once again, Bruce Jackson looks at the
On the Subjective Æsthetic of Adrian Lyne’s Lolita
Though much derided on its release, Michael Da Silva provides an insightful analysis of the æsthetic logic that informs Lyne’s adaptation of Vladimir Nabokov’s infamous