Issue 46 (December 2022)

The Ahuman Spectator: Art, Activism, Anthropocene and Apocalypse by Patricia MacCormack

Reenactment and Critical History by Angelos Koutsourakis

Spectres of Revolution and Reality: Paris, Performance, and Virtuality in Jacques Rivette’s Out 1 by Hamish Ford

Southern Connections: Nation(s), Logistics & Infrastructures, and Cultural Circulation by Tom O′Regan

Critical Communication and the Coming of Sound: How Talkies (Re)Made the Film Review by Tom O’Regan & Huw Walmsley-Evans

Systematically Stoned: The Stoner Film as Genre by Adrian Slattery

Devouring Time: Circling Existential Crises in Dark (2017) and Russian Doll (2019) by Alex Vickery-Howe & Lisa Harper Campbell

Blasted Space: Anthony Mann by Seth Barry Watter

On-screening and Off-screening by Joshua Schulze

Neither Head nor Tail: Photogénie, Figuration, Sensation by James Thompson

Small Pleasures by Murray Pomerance

The Back of Beyond (1954): Pre-Production Contexts by Deane Williams

The “It Girl”: Clara Bow’s Star Persona, Scandal and Celebrity by Christina Burr

A Censorious Affair: Pier Paolo Pasolini’s Salò, or The 120 Days of Sodom’s Battle with the Australian Censors by Jade Jontef

The Imperial Gaze Returned: Reviewing the Visual Archive of Australia’s First Modern Royal Tour by Shane Breynard

Terrence Malick: Filmmaker and Philosopher by Hanne Schelstraete

Mike Nichols: A Life and Nichols and May: Interviews by Tom Ryan

The Films of Douglas Sirk: Exquisite Ironies and Magnificent Obsessions by Anna Dzenis

Sombre: Notes of Intention by Philippe Grandrieux

Jacques Rozier on French Cancan by Jacques Rozier

Nicholas Ray According to Jacques Lourcelles by Adrian Martin