Articles
59 results
“To Become a Devil”: Special Effects, Magic Tricks, and the Technological Image in Faust
Amanda Shubert
2024-04-04 Volume 48 • Issue 1 • 2024
Warwick Thornton’s Emotional Landscapes: Indigenous Cinema and Cultural Autonomy in Australia
Wyatt Moss-Wellington
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
Neo-Imperial Island Fantasy in Contemporary French Reality TV: The Case of Koh-Lanta
Marie Bellec
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
An Uncertain Future: The 74th Berlin Film Festival
Gerd Gemünden
2024-04-04 Volume 48 • Issue 1 • 2024
Transforming Cultural Memory: Inglourious Basterds (2009)
Baran Tekay
2024-04-04 Volume 48 • Issue 1 • 2024
A United Korea (Or, the Great Divide): Crash Landing on You
Doyle Greene
2023-11-28 Volume 47 • Issue 1 • 2023
Nostalgia, Remembrance and Crises in an Evolving Streaming Media Industry
Sheri Chinen Biesen
2023-11-28 Volume 47 • Issue 1 • 2023
Camera Movement in VR: Spatial Mediation, User Positioning, and a Virtual Dinner Party
Ariel Rogers
2023-10-31 Volume 47 • Issue 1 • 2023
The Watch and the Sparkler: Time and Movement in Long Day’s Journey into Night (2018)
Patrick Keating
2023-10-31 Volume 47 • Issue 1 • 2023
The Camera Is a Printer: Manufactured Horizon as Expanded Consciousness in Adam Beckett’s Dear Janice
Ryan Pierson
2023-10-31 Volume 47 • Issue 1 • 2023
The Flying Spirit of Movement within These Solid Objects: Marie Menken’s Home Movies
Adam Charles Hart
2023-10-31 Volume 47 • Issue 1 • 2023
Sex and Technics: Sexual and Spatial Orientations in Ma vraie vie à Rouen
Scott Richmond
2023-10-31 Volume 47 • Issue 1 • 2023
Not Done Being Over: Death and the Trouble with Understatement
Eugenie Brinkema
2023-10-31 Volume 47 • Issue 1 • 2023
Tales of Downward Mobility: Life of Pi and Virtual Camera Movement in Liquid Modernity
Kristen Whissel
2023-10-31 Volume 47 • Issue 1 • 2023
Introduction: Camera Movement and the Necessity of Criticism
Daniel Morgan and Jordan Schonig
2023-10-31 Volume 47 • Issue 1 • 2023
How to De-Program a Festival? The 73rd Berlinale
Gerd Gemünden
2023-03-27 Volume 46 • Issue 2 • 2022
John G. Hanhardt, The Films of Andy Warhol Catalogue Raisonné, Volume 2: 1963–1965
Constantine Verevis
2022-12-14 Volume 46 • Issue 2 • 2022
“It’s All in the Reflexes”: John Carpenter’s Big Trouble in Little China as a Hawksian Comedy
Nikolas Matovinovic
2022-12-14 Volume 46 • Issue 2 • 2022
Anne Jerslev, David Lynch: Blurred Boundaries
Martha Nochimson
2022-12-14 Volume 46 • Issue 2 • 2022
Caetlin Benson-Allott, The Stuff of Spectatorship: Material Cultures of Film and Television
M Sellers Johnson
2022-12-14 Volume 46 • Issue 2 • 2022
Suzanne Ferriss, The Cinema of Sofia Coppola: Fashion, Culture, Celebrity
Cassie Pontone
2022-12-14 Volume 46 • Issue 2 • 2022
“Let’s Go Home!:” Representing Space and Time through Travel and Photographs in “Zainichi” Cinema
Jonathan Chan
2022-12-14 Volume 46 • Issue 2 • 2022