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  • Features
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    • American Utopia: Socio-economic Critique and Utopia in American Honey and The Florida Project

      Jennifer Kirby
      October 2019
      Issue 92
    • Intimate Terrains: Contemporary German Cinema, Migration, and the Films of Aysun Bademsoy

      Joy Castro
      October 2019
      Issue 92
    • Cinema Never Dies: Abbas Kiarostami’s 24 Frames and The Ontology of the Digital Image

      James Slaymaker
      October 2019
      Issue 92
    • Woody Allen: Television as Crisis

      Alex Munt
      October 2019
      Issue 92
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    • Nocturnal Animals

      What Would Siegfried Kracauer Say About Tom Ford’s Nocturnal Animals?

      Jennifer Ruth
      March 2018
      Feature Articles
      Issue 86
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    • Of liberation, and of states of undress and redress both: The 54th Karlovy Vary International Film Festival

      Cerise Howard
      October 2019
      Issue 92
    • This Is the Way the World Ends: The 10th Odesa Film Festival

      Leonardo Goi
      October 2019
      Issue 92
    • 22nd Revelation Perth Film Festival

      David Morgan-Brown
      October 2019
      Issue 92
    • Sharing My Journey: Women and the 2019 Toronto International Film Festival

      Alexandra Heller-Nicholas
      October 2019
      Issue 92
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    • A Soul Nourishing Pilgrimage: The 35th Frameline San Francisco International LGBT Film Festival

      Stuart Richards
      October 2011
      Festival Reports
      Issue 60
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    Recent
    • This Is Not Another Reading of a Master: The Invention of Robert Bresson: the Auteur and his Market, by Colin Burnett

      Dudley Andrew
      October 2019
      Issue 92
    • From April! April! to Imitation of Life: The Films of Douglas Sirk, by Tom Ryan

      Bruce Hodsdon
      October 2019
      Issue 92
    • “Mesdames, mesdemoiselles, messieurs: un classique!”: Eric Rohmer’s Film Theory (1948-1953) – From ‘École Scherer’ to ‘Politique des Auteurs’ by Marco Grosoli

      Jeremi Szaniawski
      October 2019
      Issue 92
    • Political Gestures: Cinema/Politics/Philosophy, by Nico Baumbach

      Daniel Fairfax
      July 2019
      Issue 91
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    • Minding Movies: Observations on the Art, Craft, and Business of Filmmaking by David Bordwell and Kristin Thompson

      Tony McKibbin
      October 2011
      Book Reviews
      Issue 60
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    Recent
    • Intimate Interiors: The Long Day Closes (Terence Davies, 1992)

      Joanna Di Mattia
      October 2019
      Issue 92
    • “Judge Tenderly of Me!”: Terence Davies’ Letter to Emily Dickinson in A Quiet Passion (2016)

      Danica van de Velde
      October 2019
      Issue 92
    • Autoluminescent: Rowland S. Howard (Lynn-Maree Milburn & Richard Lowenstein, 2011)

      Darragh O’Donoghue
      October 2019
      Issue 92
    • Hear That Lonesome Whippoorwill: Terence Davies’ The Neon Bible (1995)

      Adrian Danks
      October 2019
      Issue 92
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    • Not Reconciled

      Blowing Up the Past: Danièle Huillet and Jean-Marie Straub’s Not Reconciled (1965)

      David Heslin
      September 2017
      Cinémathèque Annotations on Film
      Issue 84
  • Great Directors
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    • Fei Mu

      Jasper Mäkinen
      October 2019
      Issue 92
    • Huston, John

      Bruce Jackson
      July 2019
      Issue 91
    • Stone, Oliver

      Jeremy Carr
      July 2019
      Issue 91
    • Klapisch, Cédric

      Ben McCann
      March 2019
      Issue 90
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    • Güney, Yílmaz

      Bilge Ebiri
      October 2005
      Great Directors
      Issue 37
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Tagged Beyond the Clouds

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“This Pain Grows Like the Sun”: Epistemology, Myth and History in Black God, White Devil

Peter Henné
July 2012
Feature Articles
Issue 63
I Some films with episodic constructions have better parts than others; each admirer of Le Plaisir (1952) may favour one story adaptation over the...

Read the Senses of Cinema World Poll 2018

INTRODUCTION

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