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  • Features
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    • Some thoughts on the erotic aesthetic in Luca Guadagnino’s ‘Desire Trilogy’

      Joanna Di Mattia
      March 2018
      Issue 86
    • Ventura Pons interview

      “A Film is a Synthesis”: An Interview with Ventura Pons

      Jytte Holmqvist
      March 2018
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    • Sustaining a Cinema of Modest Means: An Interview with Ted Fendt, Ricky D’Ambrose and Graham Swon

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      Le Fidèle as a Postmodern Love Romance: The Flemish Crime Dramas of Michaël R. Roskam

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      AFM/AFI FEST 2017: Magic Women, Haptic Men

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      Issue 86
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      From the Banal to the Extreme… and Back Again: Troubled Everyday: The Aesthetics of Violence and the Everyday in European Art Cinema by Alison Taylor

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      March 2018
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      The Cinema Hypothesis: Teaching Cinema in the Classroom and Beyond, by Alain Bergala

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      Re-framing the city: Slums on Screen: World Cinema and the Planet of Slums, by Igor Krstić

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      La Baie des Anges

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Tagged Chris Marker

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Notes on Sans Soleil

Murray Pomerance
March 2013
Feature Articles
Issue 66
1 “I’ve been around the world several times, and now only banality still interests me.”  At the beginning of Chris Marker’s Sans soleil...
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Welcome to Issue 64 of our journal

the editors
September 2012
Editorial
Issue 64
He seemed immortal, Chris Marker. For so long the basic empirical data of his life – his name, date and place of birth, his private identity...
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My Letter from Siberia

Murray Pomerance
September 2012
Chris Marker Dossier, Feature Articles
Issue 64
I went with my close friends Steve Miller and Nancy Corwin, sometime in the autumn of 1969 (when I was twenty-three), to see Chris Marker’s Letter...
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Séance “C.M.”

Gavin Keeney
September 2012
Chris Marker Dossier, Feature Articles
Issue 64
“Like the white swan’s eye to bear the director’s desire…” - Anonymous (1) I. La jetée and L’année dernière à...
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Statues Also Die, or Schroedinger’s Black Cat

Daniel Vilensky
September 2012
Chris Marker Dossier, Feature Articles
Issue 64
As comprehensive analysis of the institutional mechanisms of museologics, Les statues meurent aussi's (Statues Also Die, 1953) prime contention is,...
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The Cats in the Hats Come Back; or “at least they’ll see the cats”: Pussycat Poetics and the Work of Chris Marker

Adrian Danks
September 2012
Chris Marker Dossier, Feature Articles
Issue 64
For Guillaume-en-Egypte, Polly and Chris This is a slightly revised version of a paper presented at a symposium devoted to Chris Marker in the...
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Chris Marker: Film as Geopolitical Enlightenment

Nick Shimmin
September 2012
Chris Marker Dossier, Feature Articles
Issue 64
There are few enough artists or critics who have, by sheer force of imagination, been able to transform the way thousands understand and...
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Montage as Resonance: Chris Marker and the Dialectical Image

Daniel Fairfax
September 2012
Chris Marker Dossier, Feature Articles
Issue 64
Shortly into the second part of Chris Marker’s epic 1977 compilation film Le Fond de l’air est rouge, one of the great acts of montage in the...
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Chris Marker and the Archival Imperative: La Jetée: ciné-roman and Staring Back by Chris Marker and Chris Marker by Sarah Cooper

Patrick Friel
September 2009
Book Reviews
Issue 52
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Les Statues meurent aussi

Jenny Chamarette
September 2009
Cinémathèque Annotations on Film
Issue 52
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… à Valparaiso

Adrian Danks
September 2009
Cinémathèque Annotations on Film
Issue 52
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“All the Thrills of the Exotic”: Collective Memory and Cultural Performance in Chris Marker’s Dimanche á Pekin

Louise Sheedy
September 2009
Cinémathèque Annotations on Film
Issue 52
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