| Title |
Author(s) |
|
Thirty Two Short Films About Glenn Gould at 25
|
Towns, Ethan |
|
Complicity in Darren Aronofsky's mother! (2017)
|
Bandonis, Molly |
|
"The Uses of Cinema:" SSAAANZ 2018 Conference Review
|
Comerford, Chris |
|
Roma: Another word for Amor
|
Harrison, J. Henry ("Jim") |
|
Cobra Kai: Franchise Generationality in the Contemporary Reboot
|
McIntyre, Anthony P. |
|
Pooja Rangan, Immediations: The Humanitarian Impulse in Documentary
|
Wynter, Kevin |
|
Jans B. Wager, Jazz and Cocktails: Rethinking Race and the Sound of Film Noir
|
Berke, Annie |
|
Blair Davis, Movie Comics: Page to Screen, Screen to Page
|
Cunningham, Phillip Lamarr |
|
Return to the Self: Agnès Varda’s Cleo from 5 to 7
|
Zeric, Arijana |
|
Bohemian Normativity: Bohemian Rhapsody and the New Heteronormal
|
McCleerey, Mark |
|
Dieter Kosslick Takes a Bow: The 69th Berlin Film Festival
|
Gemünden, Gerd |
|
Starpower, Industry-Building and Regional Cinema: IFF Panama 2019
|
Vanhaelemeesch, Jasper |
|
History and Myth in Clint Eastwood's Flags of Our Fathers
|
Curnow, James |
|
Bird Box and Apathetic Blindness
|
Küçük, Serdar |
|
The Extraordinary Women of the Lido: The 76th Venice International Film Festival
|
Gemünden, Gerd |
|
Lisa Bode, Making Believe: Screen Performance and Special Effects in Popular Cinema
|
Chen, Shaopeng |
|
Jennifer Fay, Inhospitable World: Cinema in the Time of the Anthropocene
|
Duncan, Phillip D. |
|
Jennifer Malkowski, Dying in Full Detail: Mortality and Digital Documentary
|
de Vries, Nadia |
|
New York Film Festival 57 — Scorsese, Baumbach, Norton: A Tryptic
|
Nochimson, Martha P. |
|
Defending Irony in the Face of the Inevitable: Jim Jarmusch and Friends
|
Hanes, Jay Michael; Weisman, Eleanor |
|
Shell Shocked: On The Laundromat’s Welcome Abrasiveness
|
Sherwood, Ryan |
|
“What If They Are Just Actors Playing Roles?” Family Romance, LLC and the Limits of Imagination
|
Goto, Miyabi |
