The Editions Dis Voir publication, Bruno Dumont, opens with a short chapter entitled The Work of a Filmmaker that seems to characterize Dumont’s films within the context of the distinctive cinema of Robert Bresson. Through referential allusion to the informal, fragmented passages of Bresson’s Notes on the Cinematographer, Dumont’s artistic methodology, similarly captured in kernelled […]
Double Vision: My Life in Film by Andrzej Wajda provides an informal, accessible, and concise glance into the creative process of one of Poland’s most renowned filmmakers. Through a series of humorous, honest, and insightful anecdotes, Wajda presents an animated reflection of his pioneering, and largely self-taught, experience as a fledgling director during the nascent […]
Pavle Levi’s insightful and well-argued book, Disintegration in Frames: Aesthetics and Ideology in the Yugoslav and Post-Yugoslav Cinema examines the evolution of the national Yugoslav and regional post-Yugoslav cinema within its shifting political and cultural landscape – initially, in the context of individual expression under the repressive government of Josip Broz Tito, then subsequently, as […]
DEFA East German Cinema, 1946-1992 retraces the unique achievements and continued relevance of the East German national film studio, Deutsche Film-AG (DEFA), from its origins as a Soviet-assembled group of experienced postwar filmmakers called filmaktiv tasked to draft a plan to revive the German film industry, to the sale of the studio to the French […]
Hamid Dabashi presents a comprehensive, passionate, and insightful personal account on the evolution of Iranian art cinema in Close Up – Iranian Cinema: Past, Present and Future. By presenting the works of key films and filmmakers within the contextual framework of Iranian history – in particular, from the state-sponsored, forced modernization programs initiated by the […]
In Cinema of the Other Europe: The Industry and Artistry of East Central European Film, Dina Iordanova proposes a reframing of Eastern European cinema (and by extension, film culture studies) away from conventional, western-centric paradigms that tend to evaluate post World War II cinema from the “other Europe” within the context of cold war politics […]