Search Results for: "Jean Rouch"

Most academic literature on cinema uses familiar framing mechanisms such as author studies, national cinema or genre lenses. A less typical organising principle animates Igor Krstić’s book: the representation o...

ENTRIES IN PART 2: Thomas Caldwell Michael Campi Nicolas Carrasco Michael J. Casey Celluloid Liberation Front Daryl Chin Graiwoot Chulphongsathorn Roberta Ciabarra Joel Condemi Adam Cook Jordan Cro...

ENTRIES IN PART 3: William Edwards Jeremy Elphick John K. Emelianoff Kaya Erdinc Eliú Escamilla Adalberto Fonkén Gwendolyn Audrey Foster Mark Freeman Hugo Gamarra E. Sachin Gandhi Stephen Gaunson ...

Ouroboros (2017), the feature debut of visual artist Basma Alsharif, begins with an extended drone shot from the ocean through Gaza that plays in reverse motion. From the point of view of a drone, into a home a...

From Failed Propaganda to Timeless Masterpiece: Man with a Movie Camera (Dziga Vertov, 1929) In 1927 while Soviet cinema was celebrating the tenth anniversary of the Bolshevik Revolution, one of its most ferve...

“I am not afraid of the war in Algeria. I am not afraid of decolonisation” Like many other companies, the national oil company of Italy, ENI, produced a number of films, particularly between the 1950s and the ...

ENTRIES IN PART 4: Andy Hazel Paul Healy Alexandra Heller-Nicholas Peter Henné Alain Hertay David Heslin Lee Hill Colin M. Hill Peter Hourigan Cerise Howard Brian Hu Yue Huang Christoph...

“I have often noticed that we are not able to look at what we have in front of us, unless it’s inside a frame.” “You won’t believe it but I quench my thirst by drinking from a mirage.” – Abbas Kiarosta...

“Critic and actor!” trumpeted the press-kit for François Truffaut’s 1972 comedy Une belle fille comme moi (A Gorgeous Girl Like Me). Few have successfully managed to combine the two professions. Michel Delahaye...

Santiago de Compostela is a picturesque medieval town located in Galicia in northern Spain. A place for pilgrimage, it is the Catholic Mecca in Europe, with a cathedral within whose sacred walls gather thousand...

Translated in English as Love Meetings, Pier Paolo Pasolini’s Comizi d’amore (1964) should have been better translated literally: “Debates About Love.” The feature-length documentary, often referred to as an It...

The 2011 edition of the Toronto International Film Festival’s Wavelengths program included Mark Lewis’s short film, Black Mirror at the National Gallery, in which two bulky, fully articulated machines – one man...

Looking at and listening to the first scene of Chantal Akerman’s J’ai faim, J’ai froid (1984), in the complex long shot that describes the arrival of the two girls from Brussels, we discover a recurrent motif i...

The recent death of Albert Maysles set me reminiscing. I visited him at his spacious midtown Manhattan 54th Street offices in March 2005 while completing my PhD thesis, which examined a series of direct cinema ...

A glance at the title of André Bazin’s New Media might make us think that the writer has been resurrected, but the truth is that, since his death in 1958, this most important of French critics and theorists h...

Entries in part 4: Josh Mabe Miguel Marías Duncan McLean David Melville Adrian Mendizabal Nina Menkes Peter Meredith Mads Mikkelson David Miller Olaf Möller Brent Morrow Oona Mosna Jorge Mour...

In the late 1960s Ingmar Bergman was not a particularly fashionable figure, despite having made the astonishing and experimental Persona in 1966 (now one of the most respected films of postwar European cinema)....

I. Where the Crocodiles Are: Mad Bastards I am really proud of this movie most of all because it does justice to the tough men of The Kimberley who have transformed their lives by tempering their wildness, and...

Deux ou trois choses que je sais d’elle (Two or Three Things I Know About Her, 1967) is a very special entry in the remarkable filmography of Jean-Luc Godard, a figure I believe Geoffrey Nowell-Smith is justifi...

THE ENTRIES PART ONE Antti Alanen Michael J. Anderson Geoff Andrew Sean Axmaker Martyn Bamber Michael Bartlett Paolo Bertolin Pamela Biénzobas Cis Bierinckx Yvette Biro James Brown...

Geoff Gardner Antony I. Ginnane Chiranjit Goswami Jaime Grijalba Lee Hill Alexander Horwath Florent Houde Peter Hourigan Cerise Howard Christoph Huber Dominik Kamalzadeh Daniel Kasman Christop...

Peter Nagels Brad Nguyen Andy Norton Darragh O’Donohue Michael Pattison David Pearson Antoni Peris David Phelps Jit Phokaew Matías Piñeiro Phoebe Pua Bérénice Reynaud Marcos Ribas de Faria Pe...

As comprehensive analysis of the institutional mechanisms of museologics, Les statues meurent aussi's (Statues Also Die, 1953) prime contention is, in effect, that anthropology and ethnology have their Schroedi...

“An African film is a miracle, like the rain.” – Youssef Ait Hamou “’No wind is favorable to a sailor who does not know what port he is headed for.’” – Seneca, quoted by Nour-Eddine Saïl I first heard of Kh...

In 2001, to national jubilation, Beijing was awarded the 2008 Olympics. In the seven years that followed, the city underwent a makeover on a scale unparalleled since the aftermath of the 1949 revolution. While ...

An excerpt on one of the masterpieces of 6os cinema from Mary Wiles' forthcoming book on Jacques Rivette, published by Illinois University Press.

David Phelps provides a comprehensive analysis of the stylist features of one of the great directors of the Japanese New Wave.

Over the course of nine years, DocLisboa has grown in stature into one of the key European shop windows of modern non-fiction film. Lisbon's documentary film festival has become a yearly rendezvous, an opportun...

David Phelps provides a comprehensive analysis of the stylist features of one of the great directors of the Japanese New Wave.

Having flown the coop of the Flaherty family farm in Dummerston, VT, back in 1958, the Robert Flaherty Film Seminar has been migrating ceaselessly through a succession of deserted college campuses, mostly in th...

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 cinema from a multitude of countries and cultures.

Long-time advocate of French sociologist Edgar Morin’s distinctive analytical poetics, translator Lorraine Mortimer’s introduction provides a context to Morin’s passion for cinema and his intellectual orientation generally.

Contemporaneous with the French New Wave, there were many filmmakers working in France of African origin whose work has rarely been absorbed into the cultural and aesthetic history of the movement. Wes Felton surveys the era to examine the blind spots.

Upon its release, Beginnings screened to “full houses over a week at Glenn College Lecture Hall, subsequently the Carlton Theatre and to various trade unions and peace groups” (1). This documentary initially p...

Student of philosophy, traveller, actress maudit and filmmaker, Marie-Christine Questerbert, who appeared in Moullet’s Une Aventure de Billy le Kid (1971) and Anatomy of a Relationship (1975), discusses her life and career, and the travails of working with one of France’s more eccentric directors.

To retain only the word cinema, without an adjective. – Edouard Waintrop, Director of the Fribourg International Film Festival (FIFF) (1) This pocket manifesto from Director of FIFFs 22 through to 24 ended a ...