Issue 57 | December 2010
2010 World Poll
Numerous contributors from across the globe offer their selections and thoughts on their movie-going experiences in 2010. Readers should find it a fascinating overview of
Welcome to issue 57 of our journal
A father proposes to his teenage daughter a trip together to Death Valley, California. He with dreams of Erich von Strohiem’s silent classic Greed (1923)
Camouflage
There was a time in the late 1970s when Krzystof Zanussi was the toughest-minded filmmaker in the world, and Barwy ochronne/Camouflage is among his finest
Life as a Fatal Sexually Transmitted Disease
Krzysztof Zanussi’s Zycie jako smiertelna choroba przenoszona droga plciowa (Life as a Fatal Sexually Transmitted Disease) follows the final weeks of Tomasz Berg (Zbigniew Zapasiewicz),
The Structure of Crystals
Struktura krysztalu (The Structure of Crystals) is Krzysztof Zanussi’s debut feature film. From the beginning we quickly notice that this is a film that will
Back to the Old House: Krzysztof Zanussi’s Family Life
“The image of a Socialist paradise is a false one, false because it is static. What is beautiful in life is movement, development, change, part
Film, Theory and Philosophy: The Key Thinkers edited by Felicity Colman
In terms of theoretical scope, the book I currently hold in my hands could hardly be more comprehensive; in terms of ambition, it could hardly
The Tactile Eye: Touch and the Cinematic Experience by Jennifer M. Barker Moving Viewers: American Film and the Spectator’s Experience by Carl Plantinga
Towards the end of Pedro Almodóvar’s Broken Embraces (Los abrazos rotos, 2009) – his sad, playful, colour-saturated tribute to his own and so many others’
Michael Winterbottom by Brian McFarlane and Deane Williams
In January 2010, Michael Winterbottom’s The Killer Inside Me premiered at the Sundance Film Festival, the first in several stops on the festival circuit before
Re-Imagining Animation: The Changing Face of the Moving Image by Paul Wells and Johnny Hardstaff
Advances in digital technology have caused a radical shift in moving image culture. This has occurred in both modes of production and sites of exhibition,