Category: Film Theory

Suspended Lives, Revenant Images. On Harun Farocki’s Film Respite by Sylvie Lindeperg

Cinema of the Other Europe: The Industry and Artistry of East Central European Film by Dina Iordanova

In Cinema of the Other Europe: The Industry and Artistry of East Central European Film, Dina Iordanova proposes a reframing of Eastern European cinema (and by extension, film…

Nippon Modern: Japanese Cinema of the 1920s and 1930s by Mitsuyo Wada-Marciano

In Nippon Modern: Japanese Cinema of the 1920s and 1930s, Mitsuyo Wada-Marciano presents an insightful, multi-faceted analysis of Japan’s interwar cinema within the context of Tokyo’s rebuilding efforts…

Refiguring Spain: Cinema/Media/Representation edited by Marsha Kinder

Composed of three sections, Historical Recuperation, Sexual Reinscription, and Marketing Transfiguration: Money/Politics/Regionalism, Refiguring Spain: Cinema/Media/Representation is a collection of essays that examine the ways in which Spanish cinema…

Questions of Third Cinema edited by Jim Pines and Paul Willemen

A collection of transcribed essays presented during the three-day conference organized by Jim Pines, Paul Willemen, and June Givanni as part of the 40th anniversary of the Edinburgh…

Poetics of Cinema 2 by Raúl Ruiz

Eleven years since the publication of Poetics of Cinema, Raúl Ruiz continues his articulate, erudite, and insightful rumination in Poetics of Cinema 2, a lithe and infectious, yet…

Cinema Interval by Trinh T. Minh-ha

An intrinsic aspect of Trinh T. Minh-ha’s cinema is her particularity of observation from a perspective that is neither of enlightened privilege nor indigenous intimacy, but rather, suspended…

Radical Juxtaposition: The Films of Yvonne Rainer by Shelley Green

After recently seeing Yvonne Rainer’s Film About a Woman Who… for a second time, I still found that all the words I could muster for this dense, overlapping,…

Harun Farocki: Working on the Sight-Lines, edited by Thomas Elsaesser

In the introductory chapter, Harun Farocki: Filmmaker, Artist, Media Theorist, Thomas Elsaesser underscores the idea that the singularity of Farocki’s cinema resides, not in the power (or juxtaposition)…

Nothing Happens: Chantal Akerman’s Hyperrealist Everyday by Ivone Margulies

In Nothing Happens: Chantal Akerman’s Hyperrealist Everyday, Ivone Margulies provides a comprehensive examination of the minimalist visual imagery, deliberate pacing, and recurrent themes of disconnection, wanderlust, isolation, and…

Reframing Japanese Cinema: Authorship, Genre, History edited by Arthur Nolletti Jr. and David Desser

Reframing Japanese Cinema provides a comprehensive and varied perspective on Japanese cinema through a series of essays on a director’s signature style (authorship), culturally representative film genres, and…

Patterns of Time: Mizoguchi and the 1930s by Donald Kirihara

In the book Patterns of Time: Mizoguchi and the 1930s, Donald Kirihara recounts a legendary episode at the Venice Film Festival that sets the tone for Kenji Mizoguchi’s…