Screening The Past Issue 23 online

http://www.latrobe.edu.au/screeningthepast/firstrelease/firstrelease.html

First Release

 Jean-Luc Godard’s Histoire(s) du cinéma
* Laleen Jayamanne, Jean-Luc Godard’s Histoire(s) du cinéma OR “Memory of the world” (a lecture).
* Sam Rohdie, Intersections.


Manny Farber, 1917-2008
* Manny Farber and Patricia Patterson Interviewed by Richard Thompson, 1977.


Australian Film Theory and Criticism Project Interviews #1: Paul Willemen
* Introduction to Australian Film Theory and Criticism Project Interviews.
* Paul Willemen interviewed by Deane Williams.


* Tim Groves and Costas Thrasyvoulou, Against the Flow of Time: Michael Mann and Edward Hopper.

* Luis M. Garcia-Mainar, Say it with generic maps: Genre, identity and flowers in Michael Mann’s Collateral.

* Bruce Hodsdon, The Carlton Ripple and the Australian Film Revival.

Reviews

Feature Review: Bill Routt reviews Ford At Fox.

Richard Armstrong reviews András Bálint Kovács, Screening Modernism: European Art Cinema 1950-1980.
Ina Bertrand reviews Jill Julius Matthews, Dance Hall and Picture Palace: Sydney’s Romance with Modernity.
Ina Bertrand reviews Deane Williams, Australian Postwar Documentary Film: An Arc of Mirrors.
Nathalie Brillon reviews Mark Browning, David Cronenberg: Author or Film-maker?
Felicity Collins reviews Michelle Langford, Allegorical Images: Tableau, Time and Gesture in the Cinema of Werner Schroeter.
Tom Conley reviews Sam Rohdie, Montage.
John Conomos reviews Philip Brophy, The Adventures of Priscilla, Queen of the Desert.
Ryan Cook reviews Jay McRoy, Nightmare Japan: Contemporary Japanese Horror Cinema.
Colin Crisp reviews Tim Bergfelder, Sue Harris and Sarah Street, Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema.
Colin Crisp reviews Jon Lewis and Eric Smoodin (eds), Looking Past the Screen: Case Studies in American Film History and Method.
Colin Crisp reviews Leen Engelen and Roel Vande Winkel, Perspectives on European Film and History.
Tom Crosbie reviews Atara Stein, The Byronic Hero in Film, Fiction, and Television.
James Curnow reviews Christine Cornea, Science Fiction Cinema: Between Fantasy and Reality.
Wheeler Winston Dixon reviews Steve Chibnall, Quota Quickies: The Birth of the British ‘B’ Film.
Philip Dwyer reviews Guy Westwell, War Cinema. Hollywood on the Front Line.
Anna Dzenis reviews Jonathan Auerbach, Body Shots: Early Cinema’s Incarnations.
Maura Edmond reviews Jeffrey Sconce (ed.), Sleaze Artists: Cinema at the Margins of Taste, Style, and Politics.
Tony Fonseca reviews Martin F. Norden (ed.), The Changing Face of Evil in Film and Television.
Freda Freiberg reviews Millicent Marcus, Italian Film in the Shadow of Auschwitz.
Sabine Hake reviews Steven Ricci, Cinema and Fascism: Italian Film and Society, 1922-1943.
Alexandra Heller-Nicholas reviews Catherine Spooner and Emma McEvoy (eds.), The Routledge Companion to Gothic.
Steven P Hill reviews Abé Mark Nornes [Markus Nornes], Cinema Babel: Translating Global Cinema.
Jan-Christopher Horak reviews Robin Blaetz (ed), Women’s Experimental Cinema. Critical Frameworks, and Alexander Graf and Dietrich Scheunemann (eds), Avant-Garde Film.
Irene Javors reviews Vanessa Schwartz, It’s So French! Hollywood, Paris, and the Making of Cosmopolitan Film Culture.
D.B. Jones reviews Cindy Patton, Cinematic Identity: Anatomy of a Problem Film.
D.B. Jones reviews Scott Anthony, Night Mail.
Mike Lim reviews Garrett Stewart, Framed Time: Toward a Postfilmic Cinema.
Harriet Margolis reviews Emiel Martens, Once Were Warriors: The Aftermath. The Controvery of OWW in Aotearoa New Zealand.
Adrian Martin reviews Eyal Peretz, Becoming Visionary: Brian De Palma’s Cinematic Education of the Senses.
Craig Martin reviews Barbara Creed, Phallic Panic.
Ben McCann reviews Martine Beugnet, Cinema and Sensation: French Film and the Art of Transgression.
Ken Mogg reviews Steven Jacobs, The Wrong House: The Architecture of Alfred Hitchcock.
Gino Moliterno reviews John David Rhodes, Stupendous, Miserable City: Pasolini’s Rome.
Megan O’Donnell reviews Jeffrey Weinstock, The Rocky Horror Picture Show.
Des O’Rawe reviews Tom Conley, Film Hieroglyphs: Ruptures in Classical Cinema, and Tom Conley, Cartographic Cinema.
Michael Paris reviews Jonathan Rayner, The Naval War Film: Genre, History, National Cinema.
Leland Poague reviews Alan Taylor, Jacobean Visions: Webster, Hitchcock, and Google Culture.
Paul Ramaeker reviews Robin Nelson, State of Play: Contemporary “High-End” TV Drama.
Thomas Redwood reviews Thorsten Botz-Bornstein, Film and Dreams: Tarkovsky, Bergman, Sokurov, Kubrick and Wong Kar-wai.
Daniel Ross reviews Giorgio Agamben, Profanations.
Gerald Sim reviews Takayuki Tatsumi, Full Metal Apache: Transactions Between Cyberpunk Japan and Avant-Pop America.
Justin Smith reviews Geoff King, Donnie Darko.
Darren Tofts reviews Roger Beebe and Jason Middleton (eds.), Medium Cool: Music Videos from Soundies to Cellphones.
Charles Tutton reviews D. N. Rodowick, The Virtual Life of Film.
Mike Walsh reviews Ranjani Mazumdar, Bombay Cinema: An Archive of the City.
Mike Walsh reviews Paul Grainge, Brand Hollywood: Selling Entertainment in a Global Media Age.
Mike Walsh reviews Christopher Bolton, Istvan Csicsery-Ronay Jr, and Takayuki Tatsumi (eds.), Robot Ghosts and Wired Dreams: Japanese Science Fiction from Origins to Anime.
Mike Walsh reviews Zhang Zhen (ed.), The Urban Generation: Chinese Cinema and Society at the Turn of the Twenty-First Century.
Catherine Wheatley reviews Dorota Ostrowska, Reading the French New Wave: Critics, Writers and Art Cinema in France.

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