Cinema/Theatre: Beyond Adaptation
In his Notes sur le cinématographe (1975), Robert Bresson refers to ‘la terrible habitude du théâtre’. This note is not an absolute renunciation of relations between cinema and theatre. At this moment, Bresson…
The Return Home: John Cassavetes’s Love Streams
I had a departure. A sudden sense of time being up. And I departed. Sarah, in draft of screenplay for Love Streams [1] This is a sweet film. If I die, this…
Jacques Rivette: Va Savoir
Bresson again Mouchette and Le journal d’un curé de campagne are returns to an ancient story, the Passion of Christ. In that story, as in Bresson’s two films, there are similar elements: chance (a series…
Inviolable Attachments: Takeshi Kitano’s Dolls
Someone said that in this day and age, people won’t accept a play unless it is very realistic and logically convincing, so there are many things in the old stories…
Douglas Sirk’s Theatres of Imitation
In her book on the reception history of Douglas Sirk’s Hollywood films, Barbara Klinger explores the disjunction between the way Sirk’s films were derided by critics upon their first release,…
The Eye of the Beckettian Present
Sean Redmond and Matt Wagner Am I as much – Am I as much as…being seen? Samuel Beckett, Play (1963, p. 157) [1] In this article, we take up M’s closing question from Play, arguing that…
Tongue-Tied: Film and Theatre Voices in David Mamet’s Oleanna
Donna Peberdy Tongue-tied – 1. Having the frænum of the tongue too short, so that its movement is impeded or confined; incapable of distinct utterance from this cause; also, unable to…