Quiet Qualities and Qualified Quietude: The Sound Design of Gravity

IN ENGLISH. In space no one can hear you scream. This presents an audiovisual paradox. Because how does one create an auralverisimilitude in a space film, if virtually no sound is heard in outer space? In this article Andreas Halskov focuses on the sound of Alfonso Cuarón’s Gravity (2013), a sound design or sound score which in many ways is similar to that of Stanley Kubrick’s 2001: A Space Odyssey (1968).

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.

Hannibal’s Tasty Paradox

IN ENGLISH. Why do we rarely see him carry out the actual act of killing while we often get to see him eat a fancy dinner? Whenever the sadistic cannibal Hannibal Lecter enjoys another gourmet meal, this broadcast TV series displays culinary cannibalism with luxurious aesthetics that could rival most cooking shows. But why? Mads Møller Andersen analyzes the many appeals of NBC’s Hannibal and especially its food strategies.

A Mere Formality

VIDEO-ESSAY. Hou Hsiao-Hsien is a great, but somewhat underappreciated Taiwanese auteur, known for his long takes and slow pacing. In this video-essay, Adrian Martin and Cristina Álvarez López explore his unique style as seen in a scene from the 1995-film Good Men, Good Women. Mirroring the tempo and attention to detail in Good Men, Good Women, this video-essay tries to capture the very essence of Hou Hsiao-Hsien’s aesthetic.

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.

That Intense Lyricism: A Brief History of Slovak Cinema From Its...

IN ENGLISH. Czech and Slovak film are often seen as two sides of the same coin, but Slovak cinema actually has a unique tradition in its own right, and a Slovak aesthetic or sensibility has evolved since the earliest days of its cinematic history. Nicholas Hudac takes us through the early history of Slovak cinema, trying to pinpoint the defining features of Slovak film while placing it in a cultural and historical perspective.

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

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.

‘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.

No Voiding Time: A Deformative Videoessay

VIDEO-ESSAY. Deformative criticism is a playful approach to film analysis that creates a new aesthetic object from the film being analysed. In 'No Voiding Time’, Alan O’Leary divides Paul Thomas Anderson’s Inherent Vice into its individual component shots on four screens and treats the sound for musicality rather than sense. The result is an absurdist artefact that celebrates an already perplexing film.

The Frozen Frame as an Immortal Object: Reflections on Chris Marker’s...

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.