Journal

This is the journal section where you’ll find articles, essays and analysis on a range of films, genres and topics. Just click on the title to go directly to the corresponding page. If you’d like to have your article here, check out the Write For Us section.

Prisons of the Body, Prisons of the Soul: The Four Walls of the Mind in Ingmar Bergman’s Persona and James Mangold’s Girl, Interrupted
by Abbie Saunders

The Last Great American Hero: Richard C. Sarafian’s Vanishing Point
by Christina Newland

Screen Women: Interrupting the Gaze in Luchino Visconti’s Ossessione and Tay Garnett’s The Postman Always Rings Twice
by Christina Newland

A Very Coen Career: Part Three
by Joseph McDonagh

A Very Coen Career: Part Two
by Joseph McDonagh

A Very Coen Career: Part One
by Joseph McDonagh

The Road to Nowhere: Searching for the American Dream
by Abbie Saunders

Screen Women: Barbara Stanwyck’s Protofeminism in Preston Sturges’ The Lady Eve
by Christina Newland

Fellini’s Cat: Internalising Ivan’s Headache in The White Sheik
by Nick Chen

Surveillance, Experimental Soundscapes, and San Francisco Noir
by Abbie Saunders

Screen Women: The Critical Response to Scorsese’s Alice Doesn’t Live Here Anymore
by Christina Newland

Twin Peaks: The Detective Genre, Epic Tragedy and The Real Surreal
by Abbie Saunders

Team Wonder: A Defence of Terrence Malick’s To The Wonder
by Martyn Conterio

Screen Women: Brian De Palma’s Carrie
by Christina Newland

God and the Way of Grace: Terrence Malick’s The Thin Red Line
by Michael Ewins

A Terrence Malick Special: Reading The Tree of Life
by Simran Hans

Screen Women: The Male Chauvinist Fantasy of Straw Dogs
by Christina Newland

The Beat Re-Generation: Kerouac and Ginsberg on Film
By Jim Johnstone

Screen Women: Abel Ferrara’s The Funeral
by Christina Newland

The Great American Suicide Note: Michael Cimino’s Heaven’s Gate
by Ian Mantgani

Only God Forgives: An Empty Vessel of Desire
by Christina Newland

Screen Women: Anna Magnani
by Christina Newland

Defining Moments: The Birth of the Monstrous Feminine
by Victoria O’Rourke

Defining Moments: The Funny Game of Total Film
by Matt Mansfield

Defining Moments: Down the Rabbit Hole
by Simran Hans

Defining Moments: Into the Scented Darkness
by Craig Williams

Defining Moments: The Unusual Suspects
by Rebecca Gillie

Defining Moments: Hair of the Dog That Bit Me
by Joseph McDonagh

Defining Moments: Abbi and Her Brothers
by Abbi Roberts

Defining Moments: James Dean and I
by Christina Newland

Reelising a New Narrative: Visual Constructions of History in Good Bye, Lenin!
by Jonathan Lin

The Battle Between Spirit and Flesh: Martin Scorsese’s The Last Temptation of Christ
by Joseph McDonagh

Pioneers of the New West: Robert Altman’s The Player
by Craig Williams

Hope Blooms From Tainted Soil: Paul Thomas Anderson’s Magnolia
by Michael Ewins

Collateral: Crime and the Infinite Urban Sprawl
by Pedram F. Dahl

Traffic: An Allergen of the Body, An Obsession of the Mind
by Joseph McDonagh

Short Cuts: Art, Aggression and Altman
by Michael Ewins

Hooray for Hollywood: Robert Altman’s The Long Goodbye
by Rebecca Gillie

Mulholland Drive: Reimagining Responses and Dreams
by Jo Gewirtz

Introducing: L.A. Confidential – A Celebration of the City of Angels
by Simran Hans

British Cinematic Identity: Do We Really Want International Success?
by Nia Childs

British Cinematic Identity: A Gentle Reminder From Powell & Pressburger
by Joseph McDonagh

Between Borders: The Cinema of Claire Denis
By Alex Ramon

The Immigrant Song: Fear Eats the Soul
by Pedram F. Dahl

Hatred Breeds Hatred: France’s Unwanted Sons
by John Dobson

Forgotten Horrors: The Roots of Michael Haneke’s Immigration Discourse
by Craig Williams

Revisiting Origins of the American Dream: Elia Kazan’s America, America
by Rebecca Gillie

In Focus: Diaspora in Atom Egoyan’s Next of Kin
by Tina Hassannia

Introducing: Distant Voices, Still Lives
by Ryan Kent

The Fashionable Mr. Ripley
by Josie Sampson

My Lord, My Father: Paul Thomas Anderson’s The Master
by Craig Williams

The Pursuit of the Enamored Heart: Éric Rohmer’s Le Rayon Vert
by Craig Williams

Me Without You: Friends Forever
by Victoria O’Rourke

Teenage Kicks: Pawlikowski’s My Summer of Love
by Nia Childs

Whip It: 21st Century Smashing
by Rebecca Gillie

Naissance des pieuvres: An Exercise in Sense and Sensuality
by Victoria O’Rourke

Introducing: Teenagers in Love
by Simran Hans

The French New Wave: Truth and Spontaneity
by Michael Strevens

West Germany and its Colonised Sub-conscious
by Michael Strevens

How Cinema Helped Germany Heal Its Wounds
by Michael Strevens

Remembering Nora Ephron…
by Simran Hans

Italian Neorealism – the most precious moment in film history?
by Michael Strevens

The 1968 Horror Score Rebellion: Part III – Rosemary’s Baby and the Popular Music Score
by Adam Scovell

The 1968 Horror Score Rebellion: Part II – Night of the Living Dead and The Electronic Score
by Adam Scovell

The 1968 Horror Score Rebellion: Part I – Famous Monsters of Soundland
by Adam Scovell

Choose Trainspotting
by Rob Ward

Nobody must know that a sign succeeds by chance: Teorema and Pasolini’s Very Special Kind of Cinema
by Eloise Ross

A Fatal Replay: Notes on Sans Soleil, La Jetée and Vertigo
by Tim Rose

The Quiet Master: Isao Takahata
by Melanie Cheung

Alfred Hitchcock: The Other Edge of the Knife
by Stephanie Whalley

Mean Streets: The Landscape of New York in Taxi Driver
by Ryan Kent

Quo Vadis Europa: Jean-Luc Godard’s Film Socialisme 
by Pablo Luis González-Rueda

Films for Girls: Thoughts on Melancholia and The Future
by Lucia Hodgson

Gizza Job: Space, Place and Identity in Rosetta
by Ryan Kent

Shoot!: The Awkward Relationship Between Film and Football
by Ryan Kent

Woman Trouble: Douglas Sirk’s Imitation of Life
by Melanie Cheung

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