ISSN 1717-9559
Keyword : Film Theory
2.
An analysis of Touch of Evil which argues that a formal analysis grounded in cognitivism is better suited than most (i.e. psychoanalytical) in taking into consideration issues of meaning (authorial intention, the collaborative nature of filmmaking) and the particularities of cinema's unique 'autographic' and 'discursive' language.
3.
To complete the section of this issue dedicated to the cinema proper, we have a forum addressing an ongoing debate regarding the continuing relevance of the term diegesis and its attendant distinctions between diegetic and non-diegetic sound.
4.
The explosion of academic interest in sound studies over the past decade has ensured that I can no longer begin a special sound-oriented issue of a journal such as this by declaring the topic a “neglected domain.” Serious inquiry dealing with sound from a wealth of disciplinary perspectives has definitively taken place. In many ways, being free of the cachet that comes with obscurity is very appealing; I no longer have to justify my interest in sound, and can now comfortably take it for granted that the auditory dimension is worthy of exploration in its own right.
6.
An genre analysis of Park Chan-Wook's particular brand of film thriller.
7.
An theoretical analysis of what makes the cult film fan tick, from a psychoanalytical standpoint.
8.
An analysis of Eisenstein's most abstract montage type, 'intellectual montage.'
9.
A review of Ang Lee's Brokeback Mountain tracing the film's literary roots in Allegory, Romanticism and Epic poetry.
10.
A broad survey of the trends and patterns of the American horror film since 1991, the year Silence of the Lambs won several Academy Awards.
11.
A look at how two recent documentaries on the slasher/stalker film signals a paradigm shift in the horror genre.
12.
An analysis of the representation of the disabled across the broad spectrum of fantastic cinemas.
13.
A philosophical analysis of Catherine Breillat's controversial Anatomy of Hell.
14.
An in-depth analysis of the representation of women in contemporary Iranian cinema.
15.
A review essay of two books celebrating the varied contributions of African-American 'imagemakers' in its broadest sense (filmmakers, actors, writers, artists).
16.
A review essay of a multi-author reader on one of the greatest of Scottish films, The Wicker Man.
17.
A trans-gendered analysis of Hitchcock's Marnie.
18.
A discussion on the finer points of the interpretative process and how film's can 'make' meaning, with Todd Haynes' Far From Heaven as the case study film.
19.
A book review of Richard A. Gilmore’s Doing Philosophy at the Movies, which looks at, The Searchers, The Usual Suspects, Vertigo, Fargo, Crimes and Misdemeanors, The Terminator, 12 Monkeys, Trainspotting, Night of the Living Dead, and The Matrix.
20.
A psychoanalytical analysis of recent films which incorporate 'unreliable' narration as a key element of what David Church argues is a 'masochistic' form of visual pleasure.
21.
Using the critical status of Stanley Kubrick, David Church analyzes how the films of a revered art film auteur can also be held up examples of cult cinema.
22.
An analysis of the great montagists Sergei Eisenstein’s interest in synaesthesia and occult traditions.
23.
A review of Austrian experimental/avant-garde films on a DVD collection produced by Index.
24.
An review essay of the compilation DVD from Index, Sonic Fiction: Synaesthetic Videos from Austria.
25.
An appreciation of Pauline Kael through Ingmar Bergman.
26.
A narratological study of The Little Shop Around the Corner and its remake by Nora Ephron.
27.
Psychoanalytical reading of Hawks' Bringing up Baby and Hitchcock's Vertigo
28.
First of two part essay on Eisenstein's audiovisual strategies for his sound film Que Viva Mexico! and how his use of music and noise relates to his concept of 'nonindifferent nature'
29.
First of two part essay on Eisenstein's audiovisual strategies for his sound film Que Viva Mexico! and how his use of music and noise relates to his concept of 'nonindifferent nature'
30.
An analysis of Sontag's infamous later essay lamenting the death of cinephilia.
31.
Re-evaluation of Sontag's seminal essay “Against Interpretation”.
32.
The fact that Decasia (USA, Bill Morrison, 2002) has had many screenings at an equal amount of very diverse feature and documentary film festivals is testament to its slippery nature.
34.
Najmeh Khalili returns with a theoretical speculation on new digital media which looks for answers by looking into the cinematic past.
35.
Part two of Menard's theoretical explication of classical film theory.
36.
This two-part paper uses Orson Welles The Trial (1963) as a model to explicate Brian Henderson's long take theory. Instead of arguing for or against Henderson's critical standpoint, it uses its classification scheme as a basis for a more thorough understanding of the theoretical gap that exists between the two institutional pillars of cinema, the exclusive theories of Sergei Eisenstein and Andre Bazin.
37.
This essay offers a Deleuzian analysis of the great Russian filmmaker Andrei Tarkovsky's montage theory of time-pressure, foregrounded against the historical backdrop of Eisenstein's montage of attractions.
38.
Part two of Menard's unique 'cine-physics'.
39.
The first of a two-part essay on one of cinema's still greatest thinkers and writers.
40.
Part two of Younger's model analysis of the Bazinian discourse.
41.
Younger presents an involved argumentation and defense of Bazin the critic, theorist, and historian par excellence. Far from the often perceived view of Bazin as an inconsistent or politically niave' writer, Younger presents a Bazin relevant and vital for the ages.Part two of Younger's model analysis of the Bazinian discourse.
42.
For most film scholars Bazin was a man of many (incompatible) hats. Bazinian scholar Younger rethinks Bazin the Critic and Bazin the Theorist to argue otherwise.
43.
The second of a two-part essay on one of cinema's still greatest thinkers and writers.
44.
Author John Fucile's exploration and research in the Circadian Cinema model explored below has inspired two short digital films which he produced, directed, and co-wrote with Simon Fraser entitled Beat the Blue, which to date has been screened at festivals in New York, Oregon, Colorado, Massachusetts, Florida and California; and his most recent digital short, the wide-screen motion picture Zero.
45.
Is the recent “end of cinema” discourse new? Jovanovic examines the theoretical and historical legacy of this discourse (part 2).
46.
Is the recent “end of cinema” discourse new? Jovanovic examines the theoretical and historical legacy of this discourse.
47.
By Brett Kashmere and Astria Suparak following the Stan Brakhage Benefit Concert featuring Sonic Youth, Anthology Film Archives, NYC April 12, 2003.
50.
The first of a two-parter.
51.
Rist discusses why he thinks Gerry signals a strong return to form for Van Sant.
53.
Stemming from his ongoing graduate work, first-time Offscreen writer Brett Kashmere delves headlong into the fascinating intersection of Brakhage and the cultural expression of the Post-World War II American avant-garde.
54.
Anyone who has heard Stan Brakhage lecture will probably be familiar with his now famous artistic credo, his “400 year plan”. Offscreen editor Donato Totaro provides a brief glimpse into the mountain of a man that was Stan Brakhage.
55.
Drawing on the wide-ranging theories of Michel Chion (Audio-Vision: Sound on Screen), William C. Wees (Light Moving in Time), Sergei Eisenstein (Nonindifferent Nature), Peter Kivy (Music Alone: Philosophical Reflections on the Purely Musical Experience), and Tom Gunning, Jordan explores how Brakhage's films and theory ask us to 're-learn' the fundamental principles of how we interect with the world around us.
56.
Stan Brakhage at the Cinémathèque Québecoise, Montreal, January 27-28, 2001 Part 1: “Death is a Meaningless Word.”
57.
Stan Brakhage at the Cinémathèque Québecoise, Montreal, January 27-28, 2001 Part 1: “Death is a Meaningless Word.”
58.
The notion of documentary truth might be best understood as that truth which is found in the way that we mentally organize our perceptions. Increasingly the theoretical understanding of documentary film is moving away from the notion of an inherent reality found within a film text and more towards an understanding of how texts are read.
59.
Totaro explores how certain styles of filmmaking (montage vs. long take style) may be used to activate different cognitive states ('intellect' versus 'emotion').
60.
It is usually thought that reflexivity in art comes with maturation and development. Hardly, as Morissette demonstrates with her in-depth analysis of reflexivity in early cinema.
61.
Can cinema reproduce the full sensorial spectrum, and if so, what would this cinema look like?
62.
Randolph uses Clive Barker's The Forbidden to explore how the Faustian myth of immortality persists in contemporary attempts at reproduction and regeneration through the intersections of art and science, art and nature, and music and film.
64.
Steven Soderbergh balances arthouse modernism with conventions of the classical genre to produce nouveau gangster chic.
65.
An in-depth analysis of an overlooked silent film classic by Russian emigré Dimitri Kirsanov.
66.
Should feminist scholarship be looking beyond American horror for a more varied representation of female desire and sexuality?
67.
Part two of David Neo's subtle analysis of Fractal memory images in Sokoruv's Mother and Son.
68.
Gilles Deleuze Meets the Mandelbrot set in this theoretical exploration of the memory images in Sokoruv's modern day Kammerspiel classic Mother and Son.
69.
Offscreen presents for the first time in its orginal English language, this revised version of an essay that appeared in a French translation in Séquence magazine in 1995. Read on to see how Peter Jackson revolutionized horror (or comedy?) with his startling early feature films.
70.
Using the theories of Lacan, Freud, and Zizek, Gullatz explores the depth of psychic horror across a selection of classic and contemporary horror films.
71.
A look at Atom Egoyan's Family Viewing as both a springboard and touchstone for an inquiry into the nature of time and how shifting perceptions and attitudes toward it have effected society and the individual.
72.
Why is French philosopher Henri Bergson relevant for today's film theory?
73.
Historically, Halloween has its origins with the ancient Druids, who believed that on the eve of All Saints' Day, the lord of the dead, Saman, would summon a host of evil spirits. In modern days the only evil spirits called on during Halloween (excluding all those little tyrants running around in costumes!) are those emanating from movie screens.
74.
Sergei Eisenstein has always been the pride of the Soviet cinema, but it was not until after perestroika, and especially after the collapse of Communism, that Russian theoreticians began to freely explore the national-psychological roots, cultural
75.
In his second book Deleuze tackles temporality in a more direct fashion. Although the book is considerably longer than the first (344 to 250 pages), Deleuze does not propose rigid or neat classifications. The central shift remains from a cinema that defined itself primarily through motion to one that concerned itself more directly with time. The time-image moved beyond motion by freeing itself of the sensory-motor link to a pure optical and sound (tactile) image.
76.
In his second book Deleuze tackles temporality in a more direct fashion. Although the book is considerably longer than the first (344 to 250 pages), Deleuze does not propose rigid or neat classifications. The central shift remains from a cinema that defined itself primarily through motion to one that concerned itself more directly with time. The time-image moved beyond motion by freeing itself of the sensory-motor link to a pure optical and sound (tactile) image.
77.
“The film image is an alienated reflection -an imitation of life perilously similar to the original.”
78.
The Asian Cinema Studies Society held its fifth biennial Conference for the first time ever in Canada. The result was a hotbed of wide-ranging activities and academic pursuits from scholars across the world.
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