Search Results for: "Rainer Werner Fassbinder"

In Cinema 2: The Time-Image, Gilles Deleuze distinguishes between classical political cinema, in which “the people are there, even though they are oppressed, tricked, subject,” and a truly modern, progressive p...

“Il faut souffrir,” Fritz Lang, playing himself in Jean-Luc Godard’s masterful Le mépris (Contempt, 1963), laconically declares to screenwriter Paul Javal (Michel Piccoli), as he shrugs off the outraged respons...

Üç Maymun (Three Monkeys, 2008) was the fifth of the eight features that have so far been directed by Cannes favourite Nuri Bilge Ceylan, a leading Turkish filmmaker who has earned international respect for fil...

ENTRIES IN PART 5: Eugenia Lai Marc Lauria Elaine Lennon Raúl Liébana Thomas Logoreci Tara Lomax Josh B. Mabe Ioannis Makris Bob Manning Miguel Marias Jack McCulloch Brian McFarlane Kenta McGrath...

ENTRIES IN PART 4: Lauren Carroll Harris Andy Hazel Glenn Heath Jr. Michael Heath Claire Henry Jhon Hernandez Marissa Hernandez Alain Hertay David Heslin Lee Hill Lili Hinstin Jytte Holmqvist Pet...

ENTRIES IN PART 2: Thomas Caldwell Michael Campi Nicolas Carrasco Michael J. Casey Celluloid Liberation Front Jeremy Chamberlin Daryl Chin Graiwoot Chulphongsathorn Roberta Ciabarra Adam Cook Jesús...

Amongst the 260 odd pages of Kathy Acker’s 1993 experimental novel My Mother: Demonology, somewhere near the front of that iconic postmodern feminist writer’s book is featured a chapter called “Clit City”. Fram...

I fully admit to having trouble with nostalgia – in life, but especially on film. So searing is the “real” version, I find, it has to be at least partially repressed. Nostalgia’s screen portrayal, meanwhile, ne...

If Bazin's classic essay collection was titled What is Cinema?, along comes contemporary French critic Alain Bergala asking how the subject should be taught. The answer would rest partly in one of the many conc...

ENTRIES IN PART 4: Daniel Kasman Christopher Kearney Ricardo Köhler Ehsan Khoshbakht Rainer Knepperges Adam Kuntavanish Eugenia Lai Elaine Lennon Raúl Liébana Liébana Kimberly Lindbergs Tara Loma...

ENTRIES IN PART 6: Maria San Filippo José Sarmiento Hinojosa Howard Schuman Christopher Sikich Matthew Singleton Christopher Small Mark Spratt Brad Stevens Josh Timmermann Gorazd Trušnovec Matt Tur...

6 September 1977. I was not yet eight years old. Helicopters in the air; police cars everywhere. On the way to school, the display of the box with the local newspaper you could buy for a few cents showed an ima...

Who is Petzold? If one were to pose this eponymous question – a self-evident one at the start of this Dossier on the German director Christian Petzold – the year 2016 might help bring an answer into notably sh...

The most famous work by Siracusa-born Elio Vittorini, Conversations in Sicily (1941) tells the story of Silvestro Ferrauto, a Sicilian living in Milan who makes the trip back to his birthplace in an attempt to ...

“Opposition – a strange word, I don’t like it at all; it is such a grim reminder of times that I thought were over and done with.” At a time in which notions of middle ground and political equilibrium have onc...

The slightest spirit of ye olde timey explorer boils within when one ‘discovers’ a movie with little online imprint. Susan Lambert’s 1984 feminist terrorist heist film On Guard is such a curio, and outside a sp...

Volker Schlöndorff’s 1979 adaptation of Günter Grass’s 1959 novel The Tin Drum remains even by contemporary standards one of the most harrowing German films about World War II ever made. Unquestioningly, a grea...

“I felt annoyed. I could not remember being in love. That pain. Defencelessness. I thought – We wish their destruction” – Nicholas Mosley, Accident (1965) Following his foray into big-budget commercial filmmak...

Towards the end of the 67th iteration of the Berlin International Film Festival, one of Germany’s best contemporary directors, Dominik Graf, showcased his latest essay film, Offene Wunde deutscher Film (Open Wo...

ENTRIES IN PART 1: Australian Film Institute Research Collection Francisco Algarín Navarro Julien Allen Michael J. Anderson Geoff Andrew Sam Ankenbauer Rowena Santos Aquino Luke Aspell Sean Axmaker ...

ENTRIES IN PART 2: Thomas Caldwell Raúl Camargo Bórquez Michael Campi Forest Cardamenis Nicolas Carrasco Michael J. Casey Daryl Chin Lesley Chow Roberta Ciabarra Cinema For All Martyn Conterio Ada...

Conventional performance modes are fashioned upon a premise of the portrayal of a coherent fictional character whose actions can be said to service the demands of the narrative. This paper will confront the aff...

It’s difficult to think of a harder film to sell than Jacques Rivette’s Out 1: Noli Me Tangere (1971). Over 12 hours long and devoid of an easily describable plot, Out 1 has spent nearly half a century as an el...

This is a compact, dense, magisterial book. The scholarly coverage and detailed analysis of select sequences from films, television and new media art, plus extensive commentary on scholarly film criticism and t...

“When it came to Fassbinder, ... one was made to feel that the real drama in film after film wasn't so much in the makeshift characters or the fruit-salad images but in the offscreen intrigues of a baby Caligul...

I think every film ought to be an experiment, without predetermined results. In the fall of 2013, in short succession four books were published on the so-called “Berlin School” of contemporary German cine...

The Sydney CBD, with its futuristic, functionalist architecture, chain restaurants and cafes, and army of corporate workers walking frenetically, can hardly be described as a hospitable part of the city, or eve...

In the DVD extras to the new BFI Alain Robbe-Grillet box set, the interviewer Frédéric Taddeï asks the novelist and filmmaker what it felt like filming his fantasies as Robbe-Grillet shows in Trans-Europ-Expres...

Paris, Texas (1984) is a story about the prodigal son and his uneasy homecoming. It is also, among other things, a road movie, a modern Western, a near textbook perfect example of what an “art film” can be rath...

Among European filmmakers of the highest order, only Federico Fellini has had an identification with travel and the road as metaphors for life remotely as strong as Wim Wenders. The road movie is, of course, mo...

Raising Cain: Setting the Record Straight Douglas Sirk shot Interlude in 1956, between Battle Hymn and The Tarnished Angels. Starring June Allyson and Rossano Brazzi and implicitly acknowledged in the credits ...

Agnès Varda in Californialand A blonde walks in the street, sporting fashionable sunglasses; the image is in black and white, yet has a very contemporary feel. Maybe it’s the elegant physical freedom with whic...

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...

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...

Discussion of the New Waves of European national cinemas that emerged after World War II has often focused on those movements’ stances towards American cinema. While Italian neo-realism and British social reali...

I imagine editing a book series is somewhat akin to curating an art show or even a film retrospective: in all three cases the curators/editors need to present works tied together with a thematic thread. For the...