Chinese Cinema — Entidade

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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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Shohei Imamura (Cinematheque Ontario Monographs, No. 1), edited by James Quandt

I am interested in the relationship of the lower part of the human body and the lower part of the social structure. Shohei Imamura is a compilation of reflexive, analytical, and appreciative essays o

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Russian Critics on the Cinema of Glasnost, edited by Michael Brashinsky and Andrew Horton

Russian Critics on the Cinema of Glasnost, edited by Michael Brashinsky and Andrew Horton, is a book in two parts: the first, Films in a Shifting Landscape, is a series of essays analyzing the histori

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Rows and Rows of Fences – Ritwik Ghatak on Cinema by Ritwik Ghatak

Published as an updated version of the compilation Cinema and I – a repository of essays, ancillary working notes, talking scripts, and interviews by Bengali filmmaker Ritwik Ghatak – Rows and Rows of

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Poetics of Cinema 2 by Raúl Ruiz

Eleven years since the publication of Poetics of Cinema, Raúl Ruiz continues his articulate, erudite, and insightful rumination in Poetics of Cinema 2, a lithe and infectious, yet densely referential,

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Patterns of Time: Mizoguchi and the 1930s by Donald Kirihara

In the book Patterns of Time: Mizoguchi and the 1930s, Donald Kirihara recounts a legendary episode at the Venice Film Festival that sets the tone for Kenji Mizoguchi’s unique and unforgettable films:

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Nippon Modern: Japanese Cinema of the 1920s and 1930s by Mitsuyo Wada-Marciano

In Nippon Modern: Japanese Cinema of the 1920s and 1930s, Mitsuyo Wada-Marciano presents an insightful, multi-faceted analysis of Japan’s interwar cinema within the context of Tokyo’s rebuilding effor

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Nelson Pereira dos Santos by Darlene J. Sadlier

With Nelson Pereira dos Santos’s body of work deeply rooted in an aesthetic as well as political and social consciousness, it is not surprising that Darlene J. Sadlier analyzes the trajectory of dos S