Issue 62 | March 2012
Raiders of the Lost Archive: the 6th Bangkok Experimental Film Festival
The biennial Bangkok Experimental Film Festival had its sixth incarnation from 24 January to 5 February 2012 with a focus on the archive as inspiration
“The Cinema Leads Me There”: the 41st International Film Festival Rotterdam
Ugly city, beautiful cinema. It strikes me that the world’s major film festivals are opposed in nature to the cities that host them. Take Berlin.
Grand Finales: The International Forum of New Cinema at the 62nd Berlin International Film Festival
Berlin was particularly icy this February; even discounting the gusts of wind that howled across Potsdamer Platz in the evenings, temperatures dropped below -20 °C.
Ginette Lavigne’s La belle journée
Ginette Lavigne’s film offers a radical alternative to conventional uses of the sound/image dynamic
Artavazd Pelechian
b. Feb 22, 1938, Leninakin (now Gyumri), Armenia. 1. In film festivals, cinémathèques, galleries and conferences around the world, the same scene plays itself over
Pride and Prejudice: Pauline Kael: A Life in the Dark by Brian Kellow
Not long after joining the staff of The New Yorker in 1968, Pauline Kael wrote a review of Butch Cassidy and the Sundance Kid (George
Ernst Lubitsch and Nancy Meyers: A Study on Movie Love in the Classic and Post-Modernist Traditions
Lubitsch and Meyers? At first glance an unlikely couple, yet Robert Alpert traces the convolutions of movie love across differing eras to reveal its continuities
Wild/Lives: Trickster, Place and Liminality on Screen by Terrie Waddell
In the late 19th century, film as a technology, art form and social phenomenon and psychoanalysis as theoretical and practical working with untamed parts of
All Visual and No Sound Would Make Jack a Dull Boy
Focusing on a key scene from Kubrick’s The Shining, Gabrielle Ringuet discusses how the actors’ vocal performances and the scene’s sound design contribute to its
“People are waiting”: Elia Kazan and America America
Martin Scorsese concludes his A Personal Journey… Through American Movies (co-directed and co-written by Michael Henry Wilson, 1995) with a brief passage from Elia Kazan’s