ISSN 1712-9559
Keyword : Political
1.
An analysis of Third Cinema theory that extends the classic tenets of 1960s-1970s political cinema to incorporate the European Diaspora.
2.
An in-depth humanist analysis of Haaz Sleiman's The Visitor.
3.
Author Krystle Doromal compares the on/off-screen personas of two Asian American actresses from different eras, Ann May Wong and Lucy Lui. Doromal argues that, while being typecast, these two actresses have also challenged the sterotypical images of Asian Americans in their own different ways.
4.
A book review essay of Mark Reid's expansive book on African American cinema, which dates back to the silent films of pioneering director/producer Oscar Micheaux to contemporary American cinema.
5.
An historical contextualisation of Santiago Álvarez' bold political/experimental short films.
6.
An introspective analysis of what happens when aesthetization meets the politically volatile subject of global capitalism.
7.
An interview with young filmmaker Julia Loktev on her controversial film about a female suicide bomber, Day Night Day Night.
8.
A report on the 47th Thessaloniki International Film Festival in Greece, with a concentration on the International Competition.
9.
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.
10.
An analysis of the representation of the disabled across the broad spectrum of fantastic cinemas.
11.
A report on the 2006 Tribeca Film Festival, concentrating on the feature fiction films.
12.
A philosophical analysis of Catherine Breillat's controversial Anatomy of Hell.
13.
An in-depth analysis of the representation of women in contemporary Iranian cinema.
14.
This essay examines Mohsen Makhmalbaf's intertextual use of Rumi's famous poem The Three Fish in his early third phase film, Time of Love.
15.
A somewhat irreverent, insightful analysis of two recent female-centered Iranian documentaries, The Ladies Room and Iranian Journey.
16.
An analysis of two recent documentaries exposing the social injustices of archaic law and custom in Israel and Central India: Sentenced to Marriage and Highway Courtesans.
17.
A review essay of two books celebrating the varied contributions of African-American 'imagemakers' in its broadest sense (filmmakers, actors, writers, artists).
18.
Costa–Gavras returns with an astute black comedy on the corporate mindset.
19.
A panoply of in-depth reviews focusing on the importance of character as a way of reading film texts for social and philosophical meaning.
20.
An idiosyncratic look at contemporary thought filtered through popular art, literature, film, and philosophy.
21.
Part 2 of Peter Rist's look at classic Cuban cinema. A formal and cultural analysis of the short and medium length films of Cuban director Humberto Solas.
22.
An idiosyncratic look at contemporary thought filtered through popular art, literature, film, and philosophy.
23.
A comparative analysis of social/political meaning in Charlie Chaplin's The Immigrant and Busby Berkeley and Mervyn Le Roy's Golddiggers of 1933.
24.
An 'ensemble' piece of film criticism using the unique culture of Louisiana and the Katrina hurricane that shattered Louisiana as a starting point. Films analyzed include: Be Cool, Guess Who, Elizabethtown, Loggerheads, 9 Songs, Cote D’Azur, 2046, Red Eye, Thumbsucker, and Proof.
25.
An in-depth essay on the 10th anniversary of Robert Lepage's impressive debut feature Le Confessional
26.
Revisiting a classic of Quebec cinema, La Petite Aurore, L’enfant Martyre.
27.
On the occasion of the launch of the NFB's DVD box set L’oeuvre documentaire intégrale de Denys Arcand 1962-1981, Isabelle Morissette meets with Denys Arcand on the subject of On est au coton and the influence that the documentary has had on his creative process.
28.
The evolution of Québécois popular hero IXE-13 from serial novel to film.
29.
An analysis of two classic Cuban shorts, one pre (??El Megano??) and one post-Revolution (??La primena oaroa al machete??).
30.
Geopolitics meet sexual politics in Walk on Water
31.
Each of us is human and has value, but we are not equally valuable—our resources (knowledge, skills, talents, and monies), and relationships to others, determine the extent of our value. Sometimes we feel inferior because we are. The work of people such as Plato and Shakespeare is not important because they are Greek or English but because of how they illuminate the human condition, an illumination not limited by language, national borders, or time.
32.
There are works that are less important for what they are than for what they inspire us to think about, and one such work is Rodney Evans’s “Brother to Brother”
33.
Films come and come; and do so quickly enough that it’s hard to know if any of them are of much importance—before a decent, public conversation can occur, they’re gone. Films reviewed include: Hero, We Don’t Live Here Anymore, Vanity Fair, Sky Captain and the World of Tomorrow, Motorcycle Diaries, Kilometer Zero, Stage Beauty, Kinsey, Alexander.
34.
An in-depth analysis at the social and ideological parameters offered by Lars von Trier's fascinating piece of Brechtian cinema.
35.
An impromptu three-way discussion on one of the most talked about documentary films ever.
36.
A review of the Criterion DVD which suggests Criterion could have done more (or differently) this time around.
37.
I recently traveled to Australia, Japan, England, the Galapagos, and France without leaving New York—through modern magic, film...
38.
An in-depth review essay of three First Run Feature DVDs that deal with the Nazi, two documentaries, Architecture of Doom and The Eye of Vichy, and the fictional The Murderers Are Among Us.
39.
An ideological analysis of the form-content bias in Birth of a Nation (1915).
41.
Political analysis of Alfonso Arau's Like Water for Chocolate.
42.
Active before and after the Iranian Revolution of 1979, writer-director Bahram Baizai is an important figure of Iranian cinema. Yet he has yet to receive the awards and accolades of his contemporaries, like Kiarostami, Makhmalbaf, Panahi, and Majidi, at least not in the West.
43.
An interview with Chilean director Silvio Caiozzi.
44.
Throughout, Tati contrasts the cold colors and industrial sounds of the Arpel’s and the Plastac factory to the warm, earth tone colors, traditional French music, and human sounds of the old quarter. Tati may prefer this idealized vision of the past, but he remains the realist.
45.
The Emperor's Naked Army Marches On is an impassioned cinema verite-styled account of the one-man wrecking crew/dissident Okuzaki Kenzo, an ex-Private of the 36th Engineering Corps who fought in the West Pacific during World War 2. Read review of recent book on the film.
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