“A Monster for the Ages” – Anton Chigurh and the Image...

IN ENGLISH. Anton Chigurh, the main villain of the Coen Brothers’ No Country for Old Men (2007), has been called a ”Monster for the Ages.” What makes him so? Jens Kjeldgaard-Christiansen shows how a moral psychological perspective can render the aesthetically supercharged antisociality of the character intelligible.

Godard in Wall-eyed 3D

IN ENGLISH. Godard’s 3D-film Adieu au langage (2014) shapes a new cinematic aesthetic of 3D that is decidedly non-immersive. Placing the film in the history of Godard’s cinema and in the history of 3D cinema, Mathias Bonde Korsgaard argues that the film at once points to a potential crisis of the 3D film as well as its radical artistic possibilities.

Touching the Colour and Sound of Your Body’s Tears: Affect...

IN ENGLISH. The original cycle of giallo films were infamous for their scenes of murder presented in lurid and graphic detail. Although dismissed at the time as exemplifying the traits of ‘bad’ filmmaking, these films have since become highly influential. Lindsay Hallam argues that the neo-giallo focuses less on recreating a giallo narrative, and more on evoking sensory responses through vivid colour schemes, psychedelic soundtracks, and visceral imagery.

Better Call Gilligan: Revisiting the Audiovisual Design of Breaking Bad and...

IN ENGLISH. The drama series Breaking Bad and Better Call Saul have been lauded for their unique audiovisual design, often described as “artsy” or “cinematic.” In this article, which is based on interviews with cinematographer Arthur Albert, sound designer Edmond J. Coblentz and supervising sound editor Nick Forshager, Andreas Halskov revisits the audiovisual style in the two shows, trying to define Vince Gilligan’s signature style.

Audience involving strategies in Sherlock

VIDEO-ESSAY. Fans of the BBC’s Sherlock very actively have taken the show to their hearts. How does Sherlock succeed in involving its worldwide audiences in the show? In this video-essay Palle Schantz Lauridsen examines audience involving strategies within and around the show.

No Place Like Home: Returning to Twin Peaks

IN ENGLISH. In terms of style and content, the new Twin Peaks is radically different from the original series, and it includes abstract references to different David Lynch productions while combining familiar faces and places with new situations, stylistic choices and characters. In many ways, the new series is about “returning,” about going back and trying to rediscover or even recreate Twin Peaks, but the revival is not a nostalgic revisit to a cozy, All-American small-town. That gum you like has come back in a different style.

Theatrical Transcendence: Mizoguchi, Noh Theatre and Film Style

IN ENGLISH. Kenji Mizoguchi remains as one of Japan’s most accomplished filmmakers. His work called upon a number of influences, not just from his cinematic peers, but also from his own culture. One such influence which was prevalent throughout his life as a director was the Japanese theatre, particularly traditional noh theatre which was used as both a stylistic and narrative device. In our latest article, Paul Spicer explores this relationship by examining two of his most important works of the 1950s.

The Frozen Frame as an Immortal Object – Reflections on Chris...

IN ENGLISH. Chris Marker’s La jetée (1962) has intrigued many critics, who have for the most part focused on the narrative and the form of the film. Instead of pursuing this angle, Sébastien Doubinsky explores how La jetéequestions the notions of memory, history and power through an artificial construction that goes against the conventional definition of a moving picture.

‘Girls Are the New Men’: An Interview with Pawel Pawlikowski

INTERVIEW. After cutting his teeth as a filmmaker with a series of acclaimed documentaries for the BBC during the 1990s, Pawel Pawlikowski (born 1957) was named Most Promising Newcomer by BAFTA for his feature début Last Resort (2000); the follow-up, My Summer of Love (2004), won the BAFTA award for Best British Film of the Year. But neither picture felt obviously British, since each reflected a border-zone existence (literal or figurative) in a sometimes beautiful, sometimes horrific country.

Master of None, Atlanta, and Audience Engagement in Contemporary US TV...

IN ENGLISH. How do contemporary television distribution methods and consumption practices influence TV comedies? How are texts, production routines and ways of engaging the audience reshaped? Critically acclaimed TV series Master of None (2016-) and Atlanta (2016-) are good examples of such deep tranformations, leading to a reinvention of the comedy genre.