ISSN 1717-9559
Keyword Category : Directors
Abbas Kiarostami Alain Resnais Alan Clarke Alberto Lattuada Alexander Sokurov Alexandre Aja Alfred Hitchcock Amos Gitai Andrei Tarkovsky Asia Argento Atom Egoyan Augustin Villaronga Bahram Baizai Bela Tarr Bernardo Bertolucci Bill Morrison Brian Yuzna Brothers Quay Buster Keaton Charlie Chaplin Claire Denis Clive Barker Coffin Joe Dario Argento Dariush Mehrjui David Cronenberg David Grieco David Lynch Denys Arcand Donigan Cumming Douglas Buck Francis Ford Coppola Francois Miron Guido Hendericks Gus Van Sant Guy Maddin Hakan Sahin Hal Hartley Hideo Nakata Hou Hsiao hsien Humberto Solas Im Kwon Taek Ingmar Bergman Jacques Tati Jafar Pahani Jane Campion Jean Luc Godard Jean Renoir Jim Jarmusch John Carpenter Johnny To Jonas Mekas Joon Jo Bong Jorg Buttgereit Jose Mojica Marins Joseph von Sternberg Karim Hussain Kenji Mizoguchi Kenneth Anger Kim Ki Duk King Hu Kiyoshi Kurosawa Kore Eda Hirokazu Kurt Kren Larry Fessenden Larry Kent Lars von trier Lee Kwongmo Lucio Fulci M Night Shyamalan Mara Mattuschka Mario Bava Mario Monicelli Martin Scorsese Mary Harron Maya Deren Michael Crochetierre Michael Moore Michael Powell Michael Snow Michelangelo Antonioni Mikhail Kalatozov Mikhail Kobakhidze Mitch Davis Mohsen Makhmalbaf Nelson Henricks Orson Welles Ousmane Sembene Pang Brothers Park Ki Hyung Paul Leni Paul Schrader Paul Tana Pedro Almodovar Peter Greenaway Peter Jackson Peter Kubelka Peter Mettler Peter Tscherkassky Phil Hoffman Rainer Werner Fassbinder Richard Stanley Ritwik Ghatak Robert Bresson Robert Frank Robert Pena Robin Schlaht Roshell Bissett Roy Cross Sam Peckinpah Satyajit Ray Sergei Eisenstein Sergio Leone Sergio Martino Shin Sang Ok Sion Sono Sogo Ishii Stan Brakhage Stanley Kubrick Stanley Kwan Stephen Chiau Steven Soderberg Su Friedrich T.F. Mous Takashi Miike Tim Burton Todd Morris Valerie Export Werner Herzog Wes Craven Wim Wenders Wong Kar wai Woody Allen Zhang Yimou
1.
An introduction to the theme of nostalgia in the films of Sergio Leone.
2.
Coverage of the 8th installment of the Calgary International Film Festival.
4.
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.
5.
A textual analysis of the variant versions of Sergio Martino's excellent giallo, All the Colors of the Dark.
6.
A Left-Handed Form of Human Endeavour: Narrative Comparisons & Contrasts Between the Noir Heist Film
An analysis comparing the narrative structures of two seminal noir heist films, The Asphalt Jungle and The Killing.
7.
This piece centers upon a discussion with Hildegard Westerkamp about the use of her soundscape compositions in the films of Gus Van Sant.
11.
Robert Robertson continues his research into previously untapped intellectual/philosophical strains in the work (film and theory) of Sergei Eisenstein, looking at parallels to the American architect Frank Lloyd Wright.
12.
Author Guan-Soon wrestles through the virutes and ambiguities of Zhang Yimou’s Hero, a film which, according to Guan-Soon, negotiates between a Hollywood style blockbuster and a culturally savvy Chinese martial arts epic.
13.
In-depth review of the three short film DVDs from Cinema 16, with volumes dedicated to British, American and European cinema. Includes early short films by Ridley Scott, Asif Kapadia, Lynne Ramsey, Christopher Nolan, DA Pennebaker, Tim Burton, Todd Solondz, Jean-Luc Godard, Tom Tykwer, and Lars von Trier.
14.
An in-depth analysis of David Lynch's animated series Dumbland that convincingly argues for its likeness to Dadiast art and Absurdist drama.
15.
A comparative analysis between the styles of Robert Bresson and Sergio Leone.
16.
An analysis of Eisenstein's most abstract montage type, 'intellectual montage.'
17.
An in-depth interview with one of the driving forces behind the promotion and critical appreciation of Asian cinema, Tony Rayns.
18.
Professor Paul Salmon reviews the Criterion Collection release of Powell and Pressburger's influential cinematic opera piece, The Tales of Hoffman.
19.
A festival report on the 20th installment of the Leeds International Film Festival.
20.
A report on the 2006 edition of the Festival of New Cinema in Montreal, with a preamble on the etiquette of big theatre experience in the era of the multiplex experience.
21.
An essay on Hakan Sahin's first two features, Mirror and Snow, studies on the psychological effects of living in geographical isolation.
22.
An analysis of how the representation of the modern male plays out in visceral dynamics of Alexandre Aja's The Hills Have Eyes, while also comparing it to Wes Craven's original.
23.
Rist celebrates the Honk Kong Film Festival as it celebrates its 30th Year Anniversary.
24.
A report on Fantasia Film Festival 2006, discussing issues related to form-content, style for style's sake, and short films featuring man eating cats.
25.
An interview with the director of Strange Circus and The Suicide Club, Sion Sono.
26.
A review of François Miron's revisionist, Sapphic film noir, which imagines a world where women act like Humphrey Bogart and men are nervous, jittery and timid.
27.
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.
28.
A review essay on three recent books, two focusing on Charlie Chaplin and one on the American critic/playright James Agee.
29.
A trans-gendered analysis of Hitchcock's Marnie.
30.
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.
31.
A tribute to the great Italian actresses Alida Valli, who passed away April 22, 2006.
32.
An interview with David Grieco, Italian director of serial killer film Evilenko.
34.
A psychoanalytical defense of Dario Argento against claims of misogyny.
35.
An analysis of how Jane Campion negotiates the conventions of the sex-noir thriller with more auteurist designs exploring female sexual desire and 'art film' aesthetics.
36.
An exploration of the art of fight choreography as defined by wuxia pan master King Hu.
37.
An analysis of the great montagists Sergei Eisenstein’s interest in synaesthesia and occult traditions.
38.
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.
39.
Review essay of Guy Maddin's The Saddest Music in the World which concentrates on issues of National and cultural identity.
40.
A review essay of Maddin's most recent docu-short on Roberto Rossellini.
42.
A comparative analysis of social/political meaning in Charlie Chaplin's The Immigrant and Busby Berkeley and Mervyn Le Roy's Golddiggers of 1933.
43.
An overview analysis of Spain's enfant terrible, unique auteruist Agustin Villaronga, director of In A Glass Cage, 99.9, and others.
44.
An in-depth review essay of the notorious horror film In a Glass Cage, released on DVD by Cult Epics.
45.
An overview of all the best of Canadian, American, and International cinema screened in Montreal during 2005.
46.
A review of Austrian experimental/avant-garde films on a DVD collection produced by Index.
47.
An interview with the seminal figure in structural cinema, Peter Kubelka.
48.
An analysis of the recent Index DVD compilation of Austrian experimental director Peter Tscherkassky.
49.
A review of Austrian experimental/avant-garde films on a DVD collection produced by Index.
50.
A report on the 29th International Hong Kong Film festival.
51.
An inside look at one of the more intriguing film festivals in North America, the Telluride Film Festival.
53.
Report on the 19th Leeds International Film Festival,
54.
An appreciation of Pauline Kael through Ingmar Bergman.
55.
An analysis of Werner Herzog's mockumentary Incident at Loch Ness
57.
An in-depth report on the Fantasia International film festival, with a focus on the Thai films, the shorts, and some impressive US films.
58.
Writer Randolph Jordan weaves through a thematic pattern of pregnancy/death/rebirth which left its mark on FanTasia 2005.
59.
A theoretical analysis of the value of Gus Van Sant's Psycho.
60.
Dario Argento lives up to his often noted and inappropriate monicker, The Italian Hitchcock.
62.
Psychoanalytical reading of Hawks' Bringing up Baby and Hitchcock's Vertigo
63.
An in-depth interview with Brazil's horror master Jose Mojica Marins.
64.
An review of the Jose Mojica Marins DVD box-set.
65.
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.
66.
Interview with makers of the poetic science-fiction parable The City without Windows (La Dernière Voix).
67.
Woody Allen, Melinda and Melinda, Eros, Wong Kar-wai, Michelangelo Antonioni, Crash
68.
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'
69.
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'
70.
A look back at one of Makhmalbaf's most important mid-career political films, Marriage of the Blessed.
72.
A look back at some Iranian shorts and a feature documentary which have an element of reflexivity which is common to most Iranian cinema.
73.
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.