About
Film Criticism is a peer-reviewed, online publication bringing together scholarship in
the field of cinema and media studies since 1975.
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Marie Bellec (University of Pennsylvania)
Neo-Imperial Island Fantasy in Contemporary French Reality TV: The Case of Koh-Lanta
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Wyatt Moss-Wellington (University of New England)
Warwick Thornton’s Emotional Landscapes: Indigenous Cinema and Cultural Autonomy in Australia
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Alberto Iozzia (Boston University)
Fast Zombies and Social Rights: The Case of Umberto Lenzi’s Nightmare City (1980)
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Gerd Gemünden (Dartmouth College)
An Uncertain Future: The 74th Berlin Film Festival
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Baran Tekay (Istanbul Beykent University)
Transforming Cultural Memory: Inglourious Basterds (2009)
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Amanda Shubert (University of Wisconsin--Madison)
“To Become a Devil”: Special Effects, Magic Tricks, and the Technological Image in Faust
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Jim Carter (Boston University)
The Guilty Spectator: Sexuality, Age, Crime and Dario Argento’s Deep Red (1975)
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Doyle Greene (N/A)
A United Korea (Or, the Great Divide): Crash Landing on You
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Sheri Chinen Biesen (Rowan University)
Nostalgia, Remembrance and Crises in an Evolving Streaming Media Industry
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Adam Charles Hart
The Flying Spirit of Movement within These Solid Objects: Marie Menken’s Home Movies
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Kristen Whissel (University of California, Berkeley)
Tales of Downward Mobility: Life of Pi and Virtual Camera Movement in Liquid Modernity
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Patrick Keating (Trinity University)
The Watch and the Sparkler: Time and Movement in Long Day’s Journey into Night (2018)
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Scott Richmond (University of Toronto)
Sex and Technics: Sexual and Spatial Orientations in Ma vraie vie à Rouen
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Marc Raymond (Kwangwoon University)
Festival Aesthetics Amidst Festival Politics
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Ryan Pierson (University of Calgary)
The Camera Is a Printer: Manufactured Horizon as Expanded Consciousness in Adam Beckett’s Dear Janice
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Ariel Rogers (Northwestern University)
Camera Movement in VR: Spatial Mediation, User Positioning, and a Virtual Dinner Party
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Daniel Morgan (University of Chicago), Jordan Schonig (Texas Christian University)
Introduction: Camera Movement and the Necessity of Criticism
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Eugenie Brinkema (Massachusetts Institute of Technology)
Not Done Being Over: Death and the Trouble with Understatement
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Gerd Gemünden (Dartmouth College)
How to De-Program a Festival? The 73rd Berlinale
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Cassie Pontone (University of Illinois at Urbana-Champaign)
Suzanne Ferriss, The Cinema of Sofia Coppola: Fashion, Culture, Celebrity
Volume 48 • Issue 1 • 2024
Feature Article
Warwick Thornton’s Emotional Landscapes: Indigenous Cinema and Cultural Autonomy in Australia
Wyatt Moss-Wellington
2024-04-04 Volume 48 • Issue 1 • 2024
“To Become a Devil”: Special Effects, Magic Tricks, and the Technological Image in Faust
Amanda Shubert
2024-04-04 Volume 48 • Issue 1 • 2024
Fast Zombies and Social Rights: The Case of Umberto Lenzi’s Nightmare City (1980)
Alberto Iozzia
2024-04-04 Volume 48 • Issue 1 • 2024
Neo-Imperial Island Fantasy in Contemporary French Reality TV: The Case of Koh-Lanta
Marie Bellec
2024-04-04 Volume 48 • Issue 1 • 2024
Transforming Cultural Memory: Inglourious Basterds (2009)
Baran Tekay
2024-04-04 Volume 48 • Issue 1 • 2024
The Guilty Spectator: Sexuality, Age, Crime and Dario Argento’s Deep Red (1975)
Jim Carter
2024-04-04 Volume 48 • Issue 1 • 2024