Issue 62

In depth interview with one of the seminal figures in the emergence of a Marxist/Althusserian oriented film theory. In this first of a two-part interview, to be published over two issues, Comolli discusses the “Cahiers years” between 1965 and 1973.

Looking into France’s international success with The Artist, Zafar Masud discovers the little-known history of a Parisian theatre and the cinéphiles that made its reputation.

Joseph Natoli discusses the incongruous presence of a black and white, silent film evoking Hollywood’s “golden age” in an era of hi-tech culture that has displaced all that age represents.

Boy meets girl…and falls in love. In this case, Cary Grant with Ingrid Bergman in Notorious. Murray Pomerance’s analysis demonstrates how Hitchcock’s astute mise-en-scene makes it happen.

This article provides a penetrating analysis of the often over looked importance of audio elements and their design in a range of 1950’s film noirs.

Ginette Lavigne’s film offers a radical alternative to conventional uses of the sound/image dynamic.

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 effectiveness.

The films made and distributed by Luc Besson’s company are, too often, dismissed by critics. Yet they may, argues David Martin-Jones, provide interesting insights into understanding global cinema.

As many had expected, Benh Zeitlin’s first feature, Beasts of the Southern Wild, won The Grand Jury Prize, as well The Excellence in Cinematography Aw...

The biennial Bangkok Experimental Film Festival had its sixth incarnation from 24 January to 5 February 2012 with a focus on the archive as inspiratio...

Berlin was particularly icy this February; even discounting the gusts of wind that howled across Potsdamer Platz in the evenings, temperatures dropped...

Your fearless film critic, Alice, was getting ready to cover the new edition of the AFI Fest which, this year again, was Presented by Audi and offerin...

In a state in which politics are generally considered synonymous with proportional representation (and that is a nice and rather euphemistic way of de...

By the time this report is out, many changes have occurred within Italian and international festival politics. What is left to say now is only this mu...

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 Roy Hill, 1969),...

In the late 19th century, film as a technology, art form and social phenomenon and psychoanalysis as theoretical and practical working with untamed pa...

At the time of writing we are but a few weeks out from the 84th Academy Awards. Extraordinarily, the two films most likely to be most showered with Os...

“he space in which historical and cinematic narratives intersect remains an insufficiently examined but potentially fecund area of study.” (Reid Perki...

Is there an Austrian National Cinema? The concept of national cinema has always been difficult to pin down. Especially in a country whose domestic ...

The study of screenwriting has become increasingly popular at Australian universities, and a perpetual question for the screenwriting lecturer is what...

Martin Scorsese concludes his A Personal Journey… Through American Movies (co-directed and co-written by Michael Henry Wilson, 1995) with a brief pass...

Elia Kazan’s Splendor in the Grass (1961) concerns the problems encountered by two teenagers – Wilma Dean (“Deanie”) Loomis (Natalie Wood) and Bud Sta...

Discussion of the New Waves of European national cinemas that emerged after World War II has often focused on those movements’ stances towards America...

Hou Hsiao-hsien’s Hai shang hua (Flowers of Shanghai, 1998) is a film constructed like no other: it doesn’t follow the conventions of gradual and deli...

“We know that under the image revealed there is another which is truer to reality and under this image still another and yet again still another under...

“The films I most eagerly look forward to will not be documentaries but works of fiction, played against and into and in collaboration with unrehearse...

“In my Trial of Joan of Arc I have tried to avoid “theater” and “masquerade”, but to arrive at a non-historical truth by using historical words.” - R...

“Only the conflicts that take place inside the characters give a film its real movement.” - Robert Bresson (1) “Destiny is tragic but I prefer a f...

The trailer for Salvatore Giuliano (1962) begins with a town crier walking down a Sicilian street, banging a drum. This is followed by a group of men ...

As Gian-Piero Brunetta has noted, Francesco Rosi’s Il caso Mattei (The Mattei Affair, 1972) and Lucky Luciano (1973) saw the Neapolitan filmmaker retu...

“Miles of docks wait day and night for strange cargo – and stranger men”, reads the initial intertitle of Josef von Sternberg’s masterfully constructe...

“A shaft of white light used properly can be far more effective than all the color in the world used indiscriminately.” – Josef von Sternberg (1) ...

Wild Night in El Reno (1977 USA 6 mins) Filmmaker: George Kuchar Storms have been a motif found throughout filmmaker George Kuchar’s work. W...

Au hasard Balthazar (1966 France/Sweden 95 mins) Prod Co: Argos Films/Athos Films/Parc Film/Svensk Filmindustri/Svenska Filminstitutet Prod: Ma...

The Man From Hong Kong (1975 Australia 103mins) 35mm Source: ScreenSound Prod Co: Golden Harvest, The Movie Company Ex. Prod: Raymond Cho...

A discussion of this profoundly mysterious film.

A discussion of these two Bresson films.

b. Feb 22, 1938, Leninakin (now Gyumri), Armenia. 1. In film festivals, cinémathèques, galleries and conferences around the world, the same sce...