About
Film Criticism is a peer-reviewed, online publication bringing together scholarship in
the field of cinema and media studies since 1975.
-
Alberto Iozzia (Boston University)
Fast Zombies and Social Rights: The Case of Umberto Lenzi’s Nightmare City (1980)
-
Wyatt Moss-Wellington (University of New England)
Warwick Thornton’s Emotional Landscapes: Indigenous Cinema and Cultural Autonomy in Australia
-
Gerd Gemünden (Dartmouth College)
An Uncertain Future: The 74th Berlin Film Festival
-
Jim Carter (Boston University)
The Guilty Spectator: Sexuality, Age, Crime and Dario Argento’s Deep Red (1975)
-
Marie Bellec (University of Pennsylvania)
Neo-Imperial Island Fantasy in Contemporary French Reality TV: The Case of Koh-Lanta
-
Baran Tekay (Istanbul Beykent University)
Transforming Cultural Memory: Inglourious Basterds (2009)
-
Amanda Shubert (University of Wisconsin--Madison)
“To Become a Devil”: Special Effects, Magic Tricks, and the Technological Image in Faust
-
Sheri Chinen Biesen (Rowan University)
Nostalgia, Remembrance and Crises in an Evolving Streaming Media Industry
-
Doyle Greene (N/A)
A United Korea (Or, the Great Divide): Crash Landing on You
-
Kristen Whissel (University of California, Berkeley)
Tales of Downward Mobility: Life of Pi and Virtual Camera Movement in Liquid Modernity
-
Scott Richmond (University of Toronto)
Sex and Technics: Sexual and Spatial Orientations in Ma vraie vie à Rouen
-
Marc Raymond (Kwangwoon University)
Festival Aesthetics Amidst Festival Politics
-
Daniel Morgan (University of Chicago), Jordan Schonig (Texas Christian University)
Introduction: Camera Movement and the Necessity of Criticism
-
Patrick Keating (Trinity University)
The Watch and the Sparkler: Time and Movement in Long Day’s Journey into Night (2018)
-
Ryan Pierson (University of Calgary)
The Camera Is a Printer: Manufactured Horizon as Expanded Consciousness in Adam Beckett’s Dear Janice
-
Ariel Rogers (Northwestern University)
Camera Movement in VR: Spatial Mediation, User Positioning, and a Virtual Dinner Party
-
Eugenie Brinkema (Massachusetts Institute of Technology)
Not Done Being Over: Death and the Trouble with Understatement
-
Adam Charles Hart
The Flying Spirit of Movement within These Solid Objects: Marie Menken’s Home Movies
-
Gerd Gemünden (Dartmouth College)
How to De-Program a Festival? The 73rd Berlinale
-
Constantine Verevis (Monash University)
John G. Hanhardt, The Films of Andy Warhol Catalogue Raisonné, Volume 2: 1963–1965
Volume 48 • Issue 1 • 2024
Feature Article
Warwick Thornton’s Emotional Landscapes: Indigenous Cinema and Cultural Autonomy in Australia
Wyatt Moss-Wellington
2024-04-04 Volume 48 • Issue 1 • 2024
“To Become a Devil”: Special Effects, Magic Tricks, and the Technological Image in Faust
Amanda Shubert
2024-04-04 Volume 48 • Issue 1 • 2024
Fast Zombies and Social Rights: The Case of Umberto Lenzi’s Nightmare City (1980)
Alberto Iozzia
2024-04-04 Volume 48 • Issue 1 • 2024
Neo-Imperial Island Fantasy in Contemporary French Reality TV: The Case of Koh-Lanta
Marie Bellec
2024-04-04 Volume 48 • Issue 1 • 2024
Transforming Cultural Memory: Inglourious Basterds (2009)
Baran Tekay
2024-04-04 Volume 48 • Issue 1 • 2024
The Guilty Spectator: Sexuality, Age, Crime and Dario Argento’s Deep Red (1975)
Jim Carter
2024-04-04 Volume 48 • Issue 1 • 2024