Category Archive for: ‘Issue 38 – First Release’

Part I: Dreams I had a lot of dreams about the cinema…I always wanted to make films.  I wrote film scripts and some were shot, but in the end it didn’t work out. [1] –  Jean-Paul Sartre Jean-Paul Sartre was nineteen when he entered the École Normale Supérieure in Paris  He was a student at the École Normale from 1924 to1929. [2] …

The impact of Hitchcock’s work on that of Claude Chabrol is well known and when Merci pour le chocolat was released in 2000, some critics commented on what they saw as Hitchcock’s influence, referring to Notorious (1946) and Suspicion (1941). [1] However, Merci pour le chocolat does more than just re-use a Hitchcockian device; it exhibits a network of inheritances, including …

This is the fourth in a series of papers discussing the history of the Melbourne and Sydney Film Festivals. Three of our previous papers examined the period from the Festivals’ emergence in 1952 and 1954 respectively, through their development and growth to 1972. [1] This paper continues the broader historical narrative and deals with the period from 1973 to 1977. It …

In 1933, after a decade of filming wives changing husbands before repenting before the sign of the cross, director Cecil B. DeMille briefly stopped filling his celluloid bathtubs with ass’s milk and instead brewed gin. In his autobiography, the veteran showman recalled the Great Depression as a wake-up call for Americans. Switching to the Democratic ticket for the 1932 election, …

The recent proliferation of Iranian women’s diasporic cinema testifies to the importance of recognising and mapping current trends within the growing field of transnational cinema. In particular, the contribution of exilic and émigré filmmakers reveals the creation of new intercultural cinematic narratives, identities and production methodologies. In her debut feature, Women Without Men (2010), Shirin Neshat inscribes not only her …