British Cinema — Entidade

notesoncinematograph.blogspot.com·há 3 meses

British Postwar Cinema: Great Expectations at BFI Southbank

Turn the Key SoftlyNotes written for the monthly programme of BFI Southbank, May 2026. In May and June some of these films are also playing at the Academy Museum of Motion Pictures in LA, Filmhaus Nür

notesoncinematograph.blogspot.com·há 3 meses

British Postwar Cinema: Great Expectations at Filmoteca Española

It Always Rains on SundayNotes written for the monthly catalogue of Filmoteca Española on Great Expectations, currently screening in Madrid as part of the May–June 2026 programme. — Ehsan Khoshbakht19

notesoncinematograph.blogspot.com·há 3 meses

A conversation with Henry K Miller about the British postwar cinema season at BFI Southbank

The Great Expectations season is underway at BFI Southbank. The Financial Times’ Henry K Miller has penned a fine piece about this smaller selection from a British postwar cinema retrospective of the

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Strictly Film School[Archives from 10/97-3/11]

Note: Suspended Lives, Revenant Images. On Harun Farocki’s Film Respite was first published in Trafic, no. 70/2009 and is reprinted in Harun Farocki: Against What? Against Whom?, edited by Antje Ehman

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Category: Directors

Note: Suspended Lives, Revenant Images. On Harun Farocki’s Film Respite was first published in Trafic, no. 70/2009 and is reprinted in Harun Farocki: Against What? Against Whom?, edited by Antje Ehman

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Suspended Lives, Revenant Images. On Harun Farocki’s Film Respite by Sylvie Lindeperg

Note: Suspended Lives, Revenant Images. On Harun Farocki’s Film Respite was first published in Trafic, no. 70/2009 and is reprinted in Harun Farocki: Against What? Against Whom?, edited by Antje Ehman

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Category: Film Related Reading

In Split Screen: Belgian Cinema and Cultural Identity, author Philip Mosley makes a salient and illuminating re-evaluation of a bifurcated Belgian cinema, not only through the reality of a federal sta

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Category: National Cinema

In Split Screen: Belgian Cinema and Cultural Identity, author Philip Mosley makes a salient and illuminating re-evaluation of a bifurcated Belgian cinema, not only through the reality of a federal sta