| Title |
Author(s) |
|
“Blinking and Thinking: The Embodied Perceptions of Presence and Remembrance in Gaspar Noe’s 'Enter the Void'”
|
Gazi, Jeeshan |
|
Looking Back: Versions of the Post-Apocalypse in Contemporary North-American Cinema
|
Moya, Ana; López, Gemma |
|
“I don’t know who I am most of the time”: Constructed Identity in Todd Haynes’ 'I’m Not There'
|
Wilkins, Kim |
|
Koyaanisqatsi and the Posthuman Aesthetics of a Mechanical Stare
|
Varner, Gary Matthew |
|
Beyoncé’s Overwhelming Opus; or, the Past and Future of Music Video
|
Vernallis, Carol |
|
New Cinema, New Critique: French Film Criticism at the Crossroads, 1960
|
Morari, Codruţa |
|
I Saw, Therefore I Know? Alfred Hitchcock's The Wrong Man and the Epistemological Potential of the Photographic Image.
|
Negri, Sabrina |
|
A Mood of Dissonance: Unpinning Ambiguity in Gus Van Sant’s Elephant
|
Bowens, Max |
|
Fassbinder's Mother Küsters Goes to Heaven (1975) in a Genealogy of the Arbeiterfilme
|
Gerhardt, Christina |
|
Towards an (Aesth)etiquette of Torture: Polite Form in Zero Dark Thirty and Standard Operating Procedure
|
Greer, Amanda |
|
At the Margins of the Bromance: A Queer Reading of The Hangover Part III and Its Promotional Materials
|
Benson, Chloe |
