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Q&A: ‘Wladzio D´Attainville and the House of Balenciaga (1924–1948)’
Read more: Q&A: ‘Wladzio D´Attainville and the House of Balenciaga (1924–1948)’Ana Balda uncovers Wladzio D’Attainville's crucial impact on Cristóbal Balenciaga's fashion empire.
Refocus: The Films Of Roberta Findlay – A Q&A With The Editors
by Whitney Strub and Peter Alilunas Tell us a bit about your book Alilunas and Strub: ReFocus: The Films of Roberta Findlay is the first collection of scholarly essays on the notorious, groundbreaking, iconoclastic, controversial, talented, subversive, and often funny…
5 lesser-known examples of late-colonial French cinema
by Mani King Sharpe In the late 1950s and early 1960s, a spate of ‘late-colonial’ French films were made that thematised the Algerian War of Independence (1954-1962), as it was occurring. Some of these films, for example, Muriel (Resnais, 1963),…
The Place of Breath in Cinema: 10 Years On
Dr Davina Quinlivan The interdisciplinarian is best equipped to walk inside (and alongside) the lands of breathlessness, translating across border-lands wherever possible as she moves. This is because an inter-disciplinarian is identifiable by her movement, the willingness to depart from her discipline, to…
Maurizio Cinquegrani on writing ‘Film, Hot War Traces and Cold War Spaces’
by Maurizio Cinquegrani Film, Hot War Traces and Cold War Spaces was released in August by Edinburgh University Press; it’s my second book with the publisher. In the previous volume, Journey to Poland: Documentary Landscapes of the Holocaust, I have…
“Is Such A Life Worthy of the Name?”: Christopher Douglas on the Adaptation of George Gissing’s The Odd Women (Part 2)
by Tom Ue Continued from Part 1 Your integration of The Taming of the Shrew when describing Rhoda and Everard is so clever, but have you thought about reading—as Gissing does—Widdowson’s and Monica’s story in terms of Othello? Yes, I…
“Is Such A Life Worthy of the Name?”: Christopher Douglas on the Adaptation of George Gissing’s The Odd Women (Part 1)
by Tom Ue George Gissing’s novel The Odd Women (1893) opens, in 1872, with Dr Madden declaring his intention to insure his life for a thousand pounds. Things are looking up for the family. “[P]rofessional prospects,” he assures his eldest…
Researching the History of British Film Finance
by James Chapman Big research projects take a while to bear fruit. In the case of The Money Behind the Screen, it was the best part of nine years. The book’s origins extend back to the summer of 2013, when…
Q & A with the author of Music in the Horror Films of Val Lewton
by Michael Lee Tell us a bit about your book… Music in the Horror Films of Val Lewton offers interpretive analyses of Val Lewton’s horror films as seen through the lens of the music within them. Lewton, who both produced…
Natalia Christofoletti Barrenha talks Lucrecia Martel
In this interview, Natalia Christofoletti Barrenha, co-editor of ReFocus: The Films of Lucrecia Martel (out now in our series ReFocus: The International Directors Series), talks about this new volume and what led her to research Martel’s work. Can you tell us a little…