2026· Film quarterly· Vol 80, pp. 63-72· 0 citations
Abstract
This article pertains to the new film, Miroirs No. 3, by the Berlin School stalwart, Christian Petzold, one of today’s most celebrated German-language filmmakers. It comprises a lengthy interview with Petzold about Miroirs, with discussion of its location in former East Germany, its re-shot ending, and its numerous influences, along with memories of his erstwhile teacher and collaborator, Harun Farocki. Petzold recounts how the new film returns to a family milieu some 26 years after his breakthrough The State I am In (Die innere Sicherheit, 2000) as well as to the Grimm’s fairy tale “The Burial Shroud,” the basis for Ghosts (Gespenster, 2005). The interview includes a discussion of Petzold’s own refugee family and its relationship to Nazism. The piece also comprises an introduction about the titles of Petzold’s films, especially his interest in double figures under the influence of Hitchcock’s Vertigo (1958) and Rebecca (1940).
Adopting film critic Melissa Anderson’s “acteurist” approach to Laura Dern in Lynch’s Inland Empire (2009), this essay explores Naomi Watts’s role in Mulholland Drive (2001), putting media scholar Mary R. Desjardins’s ideas around the “recyclable” nature of the female film star in dialogue with Naomi Klein’s theory of...
This review reads Rungano Nyoni’s I Am Not a Witch as a satirical anatomy of accusation rather than a cinematic “explanation” of witchcraft. The film’s opening tableau—women in uniform tethered by ribbons for tourist consumption—teaches the viewer how to look, then indicts the cruelty and profit hidden in that gaze. Sh...
Claire P. Ayelotan· Journal for the study of the...· 0 citations
“Scroudge et Marly” is a literary allusion recorded by Dostoevsky in Notes and Plans (1874–1879) after his work on the novel The Adolescent, when he was contemplating the unexecuted work The Dreamer. This allusion refers to Charles Dickens’s novella A Christmas Carol in Prose, Being a Ghost Story of Christmas. Unlike c...
Disney’s “magic” is both a brand term and a viewerly experience: an affective promise, cultivated through the Disney musical, that animation can make the world feel more coherent, hospitable, and loveable than it ordinarily does. Walt Disney Animation Studios’ Encanto (2021) makes this promise newly explicit by placing...
R. Duschinsky· Journal of Religion and Popu...· 0 citations
This paper focuses on the aesthetic, thematic, and biographical convergences between August Strindberg (1849-1912) and Ingmar Bergman (1918-2007), writers who shaped the way we understand drama in contemporary times. We examine how Strindberg broke with mass theatre, establishing the foundations of Swedish modernity. I...
Eduardo Barroso, José Alberto Raposo Pinheiro· AVANCA CINEMA· 0 citations
In a time when the cinema has become less of a cultural staple, and its role as a third place has waned, Christopher Nolan’s The Odyssey has proven its exceptional cultural relevance upon release, something which was immediately obvious because I struggled to find available seating across all screening dates, and since...
Jerome De Smet· Epic Threads· 0 citations
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