ISSN 1717-9559
Keyword Category : European Cinema
Alain Resnais Alan Clarke Alberto Lattuada Alexander Sokurov Alexandre Aja Alfred Hitchcock Alida Valli Andre Bazin Andrei Tarkovsky Asia Argento Augustin Villaronga Austrian Cinema Bela Tarr Bernardo Bertolucci British Cinema Claire Denis Dario Argento Eurofest Eurohorror French Cinema German Cinema German Expressionism Giallo Gianni Di Venanzo Italian Cinema Italian Comedy Italian Horror Jacques Tati Jean Luc Godard Jean Renoir Jorg Buttgereit Karlovy Vary Kurt Kren Lars von trier Lucio Fulci Mara Mattuschka Mario Bava Mario Monicelli Michael Powell Michelangelo Antonioni Mikhail Kalatozov Mikhail Kobakhidze Mother and Son Nacho Cerda Natali Broods Neo Realism Paul Leni Pedro Almodovar Peter Greenaway Peter Kubelka Peter Tscherkassky Polish Cinema Rainer Werner Fassbinder Red Desert Robert Bresson Russian Cinema Sergei Eisenstein Sergio Martino Sicilia! Socialist Realism Spanish Cinema Spanish Horror Thessaloniki Valerie Export Werner Herzog Wim Wenders World Film Festival
1.
A critical look at the past and present of French cinema as reflected through two recent books on French cinema.
2.
An analysis of Freddie Francis' minor masterpiece in psychological and supernatural horror.
3.
Authors Hans-Bernhard Moeller and George Lellis contextualise the German film Ulzhan as a Western which riffs on the classic American genre but within a contemporary multinational, geo-political landscape.
4.
An introduction to the theme of nostalgia in the films of Sergio Leone.
5.
An essay on the Soviet Science Fiction films which played at the 2007 Fantasia International Film Festival.
8.
An in-depth overview of the Italian crime films of overlooked auteur Fernando di Leo. One of the first essays in English on the director.
9.
A textual analysis of the variant versions of Sergio Martino's excellent giallo, All the Colors of the Dark.
10.
An introduction to the Italian crime film (the poliziotteschi), a mainstay of Italian popular cinema of the 1970s.
11.
Author Jenna Bond examines the homosexual subtext across three seminal Spaghetti westerns.
12.
An historical overview of the guapparia crime filone, which was especially popular in the Southern parts of Italy in the 1970s.
13.
A psychoanalytical analysis of the unique Greek cult film??Singapore Sling??, a postmodern melange of classic film noir tropes, melodrama, gothic horror, Expressionism, and exploitation cinema (extreme gore, explicit sex).
17.
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.
18.
A tribute to the Hammer great Freddie Francis, cinematographer par excellence and director of countless horror films, including the film given extensive analysis here, The Creeping Flesh.
19.
A thoughtful overview of the 13th rendition of the Bradford International Film Festival, which ran from March 9-24, 2007.
20.
In-depth review of the Fantasia International Film Festival's first DVD release, a compilation of outstanding shorts shown at the festival over the past several years.
21.
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.
22.
A comparative analysis between the styles of Robert Bresson and Sergio Leone.
23.
An analysis of Eisenstein's most abstract montage type, 'intellectual montage.'
24.
An industry analysis using Almodovar's Live Flesh and Guy Ritchie's Snatch as case studies of the sort of narrative and stylistic markers used by European cinema to compete with American films in the global market.
25.
Professor Paul Salmon reviews the Criterion Collection release of Powell and Pressburger's influential cinematic opera piece, The Tales of Hoffman.
26.
Author Linda J. Merelle searches for and finds synchronicity among the works of three oddly matched filmmakers: Krzysztof Kieslowski, Luc Besson and Jean-Pierre Melville.
27.
A festival report on the 20th installment of the Leeds International Film Festival.
28.
A report on the 47th Thessaloniki International Film Festival in Greece, with a concentration on the International Competition.
29.
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.
30.
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.
31.
A review essay of Dai Sijie's France-China production of Sijie's own novel, set during China's Cultural Revolution (1966-1976). Author Garrett analyzes (among other elements) how, during one of the darkest periods in China's cultural history, great art (much of it destroyed as part of the 're-education' program) survived through the perseverance of the human spirit.
32.
A review of the final Merchant-Ivory film, The White Countess, “a high-brow romance drama without romantic love.”
33.
A philosophical analysis of Catherine Breillat's controversial Anatomy of Hell.
34.
A review essay of a multi-author reader on one of the greatest of Scottish films, The Wicker Man.
35.
A trans-gendered analysis of Hitchcock's Marnie.
36.
A tribute to the great Italian actresses Alida Valli, who passed away April 22, 2006.
37.
An interview with David Grieco, Italian director of serial killer film Evilenko.
39.
Costa–Gavras returns with an astute black comedy on the corporate mindset.
40.
A psychoanalytical defense of Dario Argento against claims of misogyny.
42.
An analysis of the great montagists Sergei Eisenstein’s interest in synaesthesia and occult traditions.
43.
A review essay of Maddin's most recent docu-short on Roberto Rossellini.
44.
An overview analysis of Spain's enfant terrible, unique auteruist Agustin Villaronga, director of In A Glass Cage, 99.9, and others.
45.
A report on the 46th International Film Festival of Thessaloniki, Greece (TIFF, 18 – 27 November 2005).
46.
An in-depth review essay of the notorious horror film In a Glass Cage, released on DVD by Cult Epics.
47.
An overview of all the best of Canadian, American, and International cinema screened in Montreal during 2005.
48.
A review of Austrian experimental/avant-garde films on a DVD collection produced by Index.
49.
An review essay of the compilation DVD from Index, Sonic Fiction: Synaesthetic Videos from Austria.
50.
An interview with the seminal figure in structural cinema, Peter Kubelka.
51.
An analysis of the recent Index DVD compilation of Austrian experimental director Peter Tscherkassky.
52.
A review of Austrian experimental/avant-garde films on a DVD collection produced by Index.
53.
An inside look at one of the more intriguing film festivals in North America, the Telluride Film Festival.
54.
Report on the 19th Leeds International Film Festival,
55.
An analysis of Werner Herzog's mockumentary Incident at Loch Ness
56.
An in-depth report on the Fantasia International film festival, with a focus on the Thai films, the shorts, and some impressive US films.
57.
A theoretical analysis of the value of Gus Van Sant's Psycho.
58.
Dario Argento lives up to his often noted and inappropriate monicker, The Italian Hitchcock.
59.
A look back at the underappreciated films of Bill Forsyth, with an emphasis on Comfort and Joy.
61.
Psychoanalytical reading of Hawks' Bringing up Baby and Hitchcock's Vertigo
62.
Mondo film, ethnographic film, Mondo Cane, Russ Meyers
63.
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'
64.
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'
65.
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.
67.
Michael Vesia's report on the debut of Montreal's Italian Film Festival.
68.
A study of two recent art house films (Spring, Summer, Fall, Winter ... and Father and Son) which feature male relationships at their emotional center.
69.
An intriguing look back at the on-set experiences of Jonathan Hourigan.
70.
Fassbinder gets an exhaustive treatment in the recent book by Christian Braad Thomsen, and a likewise turn here by Louis Goyette.
71.
Part-two of Fantasia Festival report.
72.
An in-depth analysis at the social and ideological parameters offered by Lars von Trier's fascinating piece of Brechtian cinema.
73.
A review of the Criterion DVD which suggests Criterion could have done more (or differently) this time around.
76.
A demonstration of the critical value of statistical analysis.
77.
A look back to gauge the current relevancy of this early Bresson reference book.
78.
The future finally looks bright for Bresson DVD enthusiasts. Burnett examines the follow-up Criterion Bresson release.
79.
Bresson's inimitable filmmaking style has its echo in his writing style.
80.
