ISSN 1712-9559
Keyword : French Cinema
1.
Costa–Gavras returns with an astute black comedy on the corporate mindset.
2.
An inside look at one of the more intriguing film festivals in North America, the Telluride Film Festival.
4.
An intriguing look back at the on-set experiences of Jonathan Hourigan.
5.
A review of the Criterion DVD which suggests Criterion could have done more (or differently) this time around.
8.
A demonstration of the critical value of statistical analysis.
9.
A look back to gauge the current relevancy of this early Bresson reference book.
10.
The future finally looks bright for Bresson DVD enthusiasts. Burnett examines the follow-up Criterion Bresson release.
11.
Bresson's inimitable filmmaking style has its echo in his writing style.
12.
A two-part assessment of the critical discourse surrounding one of cinema's hallowed names, Bresson. Burnett concentrates much of his discussion on the unfortunately polarized views that are continually circulated concerning Bresson's cinematic-philosophical position as “Transcenendalist” or “Materialist”.
13.
Part two of Burnett's critical assessment of the Bressonian theoretical discourse.
14.
Bresson may have been a cinematic iconoclast, but he remains a pivotal figure to the spirit that gave rise to the New Wave.
15.
The future finally looks bright for Bresson DVD enthusiasts. Burnett examines the first Criterion Bresson release.
16.
Pageau revisits Bresson's 'prison' masterpiece after many years to be surprised all over again.
17.
A review of Criterion's wonderful transfer of the Alain Resnais film which helped usher in the 1960s modernist cinema.
18.
Part two of Younger's model analysis of the Bazinian discourse.
19.
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.
20.
Totaro explores how certain styles of filmmaking (montage vs. long take style) may be used to activate different cognitive states ('intellect' versus 'emotion').
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