Turning the Camera Around to You: The Passenger and Objectivity vs. Subjectivity Charlie Brownlee The final shot of The Passenger, in which Locke (Nicholson) lies in bed as the camera moves past him. The opening scene of Michelangelo Antonioni’s … Read more
Unconventional Space: Queering and Liberation of Spaces in Portrait of a Lady on Fire and Hold Me While I’m Naked Brian Rosenzweig Hélöise and Marianne create a space of intimacy and belonging, however brief it is. We often examine queerness, … Read more
What Makes an Auteur? An Analysis of Abbas Kiarostami’s Close-Up Andrew Tomei Director Abbas Kiarostami speaks to the imprisoned Sabzian. In the pantheon of great filmmakers, several figures have become strongly associated with one particular style. Although filmmaking … Read more
It’s Your Move Noah Maynard Artist Statement THE OPENING After an unproductive summer of 2022, I was searching for answers that I should have been producing. What is the underlying cause of my indolence? How do I overcome … Read more
goin thru it. Carly Peck Artist Statement Because of my interest in editing, I was fascinated by Sergei Eisenstein’s ideas about how montage and editing can reveal untold stories and new meanings. To explore this concept further, I … Read more
What Is Inside Is Also Outside: The (Un)familiar World of Zama Abigail Burns Don Diego de Zama (right) inhabits one of many cramped frames, as the interior is sonically besieged by the exterior Lucretia Martel’s Zama (2017) is … Read more
Sound Builds Its Own World: Auditory Montage in Lucrecia Martel’s Zama Theo Holt Don Diego de Zama stares beyond the frame’s edge, longing to be liberated from his miserable post In Zama (Lucrecia Martel, 2017), the titular character … Read more
Excerpted from the author’s 2018 honors thesis Couples Lost in Time: Hiroshima, mon amour and L’Eclisse Dylan Caskie Not yet identified lovers embrace in the abstract prologue of Hiroshima, mon amour In Cinema 1: The Movement-Image (1983) and Cinema … Read more
Affective Mood as a Narrative Tool in A Beautiful Day in the Neighborhood Julia Stamey Addressing the audience, Mr. Rogers (Tom Hanks) presents the case of Lloyd (Matthew Rhys) as a lesson in anger management for adults Marielle Heller’s … Read more
Masculine Hierarchies, Voice, and the Clown-Cuckold Figure in The Blue Angel Liam Bradford Alongside Lola (Marlene Dietrich), Professor Rath (Emil Jannings) is reduced to a clown The Blue Angel (Der blaue Engel, Josef von Sternberg, 1930) is a film … Read more
