By Stacey Abbott As the evenings draw in and the temperature drops, my mind turns toward the ghostly, the ghoulish and the gruesome (‘Tis the Season to be Gruesome’). These days it also turns toward the apocalyptic, with the autumnal…
By Carrie Giunta Daily life in New York City has its many challenges. In the concrete jungle, it’s a struggle to survive. But when one Harlem resident kept a 500-pound tiger and a seven-foot alligator as roommates, it raised philosophical…
By David Martin-Jones At the heart of “Film-Philosophy and a World of Cinemas” is discussion of a contentious and at times heated debate between Hamid Dabashi and Walter Mignolo on the one hand, and Slavoj Žižek on the other. The…
2015 was a great year for Edinburgh University Press Journals. We published over 750 articles across 39 journals, several of our journals, including the Journal of Scottish Philosophy and Modernist Cultures, increased in frequency and we were delighted to welcome…
By Christophe Van Eecke Ken Russell is often considered more or less the court jester of British film history, and his films have not always been taken quite as seriously as they deserve. This holds true even of The Devils…
By John Hill My interest in writing about the work of the film and television director Ken Russell partly derived from writing about another Ken in my book, Ken Loach: the Politics of Film and Television (2014). The two Kens…
Badiou's interventions on cinema are scattered over a large time span, dispersed in myriad film reviews, short articles and conferences, and for the main part are devoted to discussing one or several individual films, as evidenced by his recently published collection, Cinema.
Three years ago, Richard Macdonald and I compared Dai Vaughan (1933-2012) with two other ‘outstanding figures of his generation’, Robin Wood (1931-2009) and V F Perkins (1936-). The comparison is worth extending. Wood and Perkins are now regarded as key figures…
By Ieuan Franklin Where are the films being made today about ‘Austerity Britain’ that combine social realism and humour, as in The Full Monty (1997)? In my article for the Journal of British Cinema and Television last year I looked…