Aside from expected essays on film adaptations, there are a number of pieces that roam free from these constraints.
Sophie’s Choice isn’t resonant as a tale of an aspiring writer, a Holocaust history, or trauma parable.
That multitude, with regard to films, is rather restricted to a specific kind of cinephilia, primarily an overt emphasis on Classical Hollywood.
Sorcerer is the nightmarish inverse of mellifluous fantasia: a symphonic, boundary-pushing masterwork.
Herbert’s strongest work comes via his explanation for the physical layout of various stores and how each utilizes the space in order to cater to a specific type of consumer.
There’s a sinister, even insidious quality to a film that insists upon using incessant food montages not as a source of passion, but fodder for class-based self-congratulation.
The Filmmakers insist that altered spectatorship, particularly patience and duration, is the foundation of cinematic edification.
Less old-fashioned than demure and passé, evoking the visual style and rhythms of a 1990s made-for-TV movie rather than a daring, revisionist independent feature.
Ukraine Is Not a Brothel ultimately exists in a representational space similar to the rad-fem tactics of Daisies or, even, Spring Breakers.
True/False Film Fest 2014: The Vanquishing of the Witch Baba Yaga, Manakamana, & Concerning Violence
To call Jessica Oreck’s The Vanquishing of the Witch Baba Yaga “hypnotic” would be too easy.
Rich Hill is poverty porn, and this isn’t simply because the film examines poverty.
The Notorious Mr. Bout romanticizes rather than humanizes its rather thorny subject matter.
One gets the sense that Lee’s work is being used here as an explicative tool for theoretical engagement and not the other way around.
A book insufficiently framed by either strong historical or theoretical parameters is bound to flounder quickly and Davis’s work is no exception.
Gemünden’s extensive definition of “exile” draws on the likes of theorists Theodor Adorno, Edward Said, and Salman Rushdie.
Noah Isenberg embraces the biographic over the critical dimensions entailed in his chosen methodological approach.
By shifting the questions to stakes of claims rather than just an affirmation of positive or negative images, Nishime moves toward a progressive politics of the mediated imaging of multiracial Asians.
In order to comprehend Godard’s cinema, Witt claims, it’s first necessary to understand precisely how Godard defines the cinema.
While many academic monographs take a single director, time period, or genre as their field for analysis, Andrews is juggling at least half a dozen at once.
Fisher’s smart questions elicit both useful and humorous responses from Petzold throughout.