Search Results for: "Hitchcock"

Much like Alfred Hitchcock with Psycho (1960), Stanley Kubrick sought, with The Shining (1980), to conduct an experiment in cinematic fear. While neither of the films can be reduced to it, this experimental dim...

Once out of nature I shall never take My bodily form from any natural thing. — W. B. Yeats The Slovak director Juraj Jakubisko has been described by some critics as ‘the Fellini of the East.’ The comparison ...

In Postmodernism, or, the Cultural Logic of Late Capitalism, Fredric Jameson famously takes the Westin Bonaventure Hotel as an emblem of postmodern impersonality. “The Bonaventure,” he argues, “aspires to being...

“A repetition of identical days, the only variant of which is the cinephile menu”. – Ne croyez surtout pas que je hurle (Just Don't Think I'll Scream, Frank Beauvais, 2019) “Si les temps sont durs et mauvais...

Windows or Doors: Doors and Windows John Szarkowski’s 1978 show (and book) Mirrors and Windows: American Photography since 1960 explored the movement in the American photographic scene from concerns with publi...

A number of recurring motifs, themes and ‘signature’ styles have been attributed to Stanley Kubrick over the years, mostly from an auteurist perspective. These include, for example, the use of mirrors, facial c...

Much has been written about the intertextual richness of Stanley Kubrick’s cinema both in and of itself and in terms of its influence on other filmmakers. In this regard The Shining (1980) has itself been the s...

Four decades is a short time in the grand scheme of all history, but in the realm of film music, it is a significant span. It is time enough to see overall trends and important shifts, and it provides an excell...

The Shining is a resource that keeps on giving. It has generated a whole “universe” of creative, critical and fan activity. Stanley Kubrick adapted The Shining once in 1980 and never looked back, un like Stephe...

Since its theatrical release in 1980, Stanley Kubrick’s The Shining has fit uneasily into the horror genre and has met with a discordant range of responses. A common grievance among reviewers at the time was th...

Featuring a brand new, original video essay by Miguel Mira and Olena Pikho, made especially for this dossier, this is the opportunity to look at a series of brilliant and often jubilant videos engaging with The...

Robert Earl Wise b. 10 September, 1914, Winchester, Indiana, USA d. 14 September, 2005, Westwood, Los Angeles, USA Wise is varied. He seems able to do almost anything … – Arthur Knight. In his influentia...

As a scathing indictment of the violence and debauchery revealed during the fascist reign of 1940s Italy, it is unparalleled. As a grotesquely perceptive commentary on the extremes of consumerist culture, it is...

Ann Arbor Film Festival is the longest running avant-garde and experimental film festival in North America. 1963 was its foundation year. This year would bring 40 programs, and 180 films selected from 3,500 sub...

It could almost be a parlour game to try to talk about Laura Mulvey without mentioning her famous essay “Visual Pleasure and Narrative Cinema”, with its more than fifteen thousand citations and the phrase the m...

ENTRIES IN PART 5: Josh B Mabe Ioannis Makris Bob Manning Miguel Marias Jack Mcculloch Joe Mcelhaney Adrian D. Mendizabal Jamie Mendonça Stefano Miraglia Olaf Möller Marcel Müller Peter Nagels An...

The Grain of the Real Always the champion of the most cutting-edge documentaries from Asia, the Vancouver International Film Festival (VIFF) presented two remarkable films by young Chinese women, which, albeit...

Given his interest in paradoxes, the French philosopher Alain Badiou dubbed cinema a ‘mass art’, although not every film can be categorised in this way. On the one hand, many movies are above all commercial far...

The conversation concerning developments in streaming service providers and digital, on-demand distribution has largely revolved around the accessibility of the latest blockbuster, foreign release, or independe...

This year’s edition of the Locarno Film Festival, the 72nd, welcomed a new artistic director, Lili Hinstin, after the departure last year of Carlo Chatrian to (co-) head up the Berlin festival. Hintsin’s arriva...

In 1987, when his book, which serves as one of the first efforts in English to reassess and appraise the films and legacy of Roberto Rossellini (1987), was first released, Peter Brunette pointed to the dearth o...

Originally published in Senses of Cinema issue 72, October 2014. Prologue For many in Generation X, there is the time before Pulp Fiction (1994) and there is the time after Pulp Fiction. The shift in consciou...

Transcendental style seeks to maximize the mystery of existence; it eschews all conventional interpretations of reality: realism, naturalism, psychologism, romanticism, expressionism, impressionism, and... rati...

Like the hole at the centre of a tape spool, Gilderoy occupies the absent fulcrum of an auditory mystery, a mystery made more mysterious by its transparency, its bathos. That cutting into flesh, that red-hot to...

One handy way to think about Peter Strickland’s cinematic work is through its pronounced, indeed insistent historical referentiality to the cinema of the past, and, in particular, to an immediately recognisable...

b. 4 September 1961, Neuilly-sur-Seine Filmography Further Reading “All of (Klapisch’s films) are solid mainstream entertainments with sprawling casts, intersecting storylines and a strong sense of pla...

If you were around in the 1980s and even a passing consumer of Hollywood action movies, you’ll probably remember Chuck Norris as an elite troop facing off against Lebanese terrorists in The Delta Force (1986) –...

The tote bag I picked up at the headquarters of the International Film Festival Rotterdam (IFFR) had four fluorescent words printed on it, one for each feeling the festival’s 48th edition promised to make me ex...

“We’re all children of Kubrick, aren’t we? Is there anything you can do that he hasn’t done?” Paul Thomas Anderson Stanley Kubrick (1927-1999) passed away twenty years ago – on March 7, 1999 – while in the pr...

In the cinema, the long take is an instrument of multifaceted – sometimes paradoxical – power. In a film like Ladri di Biciclette (Bicycle Thieves, Vittorio de Sica, 1948) or Deux jours, une nuit (Two Days, One...

In Part 1 of this article, I discussed the history of my own film viewing experiences of cellulose nitrate colour prints. We now move to black and white. The true glory of silver nitrate is best appreciated ...

In many ways, the Nouvelle Vague began with Claude Chabrol. Not only was he instrumental in assisting his Cahiers du Cinéma colleagues’ early productions, and his own Le beau serge (1958) the first full-length ...

Max Ophuls has been called a humanist director, but if we define humanism as referring to the centrality of human activity to the universe, then he is the least humanist of directors. Characters in his films ma...

Claude Chabrol is often called the French Hitchcock, but, to my mind, Chabrol is the far more provocative director, because of his brutal honesty about the hopelessness of human behaviour in a patriarchal world...

“Some of my best friends are ghosts,” says Dr. John Holden (Dana Andrews). He is being sarcastic (and Dana Andrews was one of the best serious men at reading a dry line); Holden, a “prominent psychologist” invi...

ENTRIES IN PART 7: Maria San Filippo Christopher Sanda José Sarmiento Hinojosa Adrian Schober Howard Schumann Vladimir Seput Christopher Sikich Christopher Small Jordan M. Smith Ben Soper Mark Spra...