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From the editor and writers of Bright Lights Film Journal
Action! Interviews with Directors from Classical Hollywood to Contemporary Iran
(Anthem Art and Culture), by Gary Morris (Editor), Bert Cardullo (Introduction), Jonathan Rosenbaum (Foreword). London and New York: Anthem Press, 2009.
"I dare anyone to squeeze between two covers a more varied, useful and flat out entertaining sampling of the personalities that make the seventh art the liveliest."
David Hudson, IFC.com
Andrew Grossman
Andrew Grossman is the editor and coauthor of the anthology Queer Asian Cinema: Shadows in the Shade (Harrington Park Press, 2001), and has written book chapters for the anthologies Chinese Connections: Critical Perspectives on Film, Identity, and Diaspora (Temple University Press, 2004), The New Korean Cinema (Edinburgh University Press, 2004), and 24 Frames: The Cinema of Japan and Korea (Wallflower Press, 2004). His writing also appears in The New Dictionary of the History of Ideas (Scribner and Sons), Senses of Cinema, American Book Review, and elsewhere.
» Between Artless Passions and Anal Hells: On the Edinburgh Festival's Production of Marlowe's Edward II (BLFJ 82 – November 2013)
"Why should you love him who the world hates so?"
» What Exactly Is the "Road" in the Road Movie? (Fragments on Narrative Endings) (BLFJ 80 – May 2013)
"We've long since lost faith in endings; the postmodern project of 'decentering' everything has made it irrelevant whether our endings end with conjugal bliss, a predicted death, nothingness, a tree, an empty gaze, or any assorted marginalia."
» When the World Was Wide(r): A Requiem for PBS (BLFJ 79 – February 2013)
"There was a time when the Corporation for Public Broadcasting, 'formed as an educational, non-commercial, and public interest alternative to the vast wasteland of commercial networks,' meant something other than drearily underproduced Anglophone mysteries, self-help seminars for pensioners and forced retirees, staged cooking lessons, cheapjack puppet shows, and various and unspeakable retrenchments of the petit bourgeoisie."
» Fun in the Aristotelian Supermarket: A Dramatic Sketch on the Future of Visuality (BLFJ 79 – February 2013)
"Bottled and packaged products were sold mainly according to static imagery and rhetorical claims. With the advancing sophistication of the cinematic age, however, we gradually developed a taste for kinesthesia, ending the false dignity of stasis. The famous Heinz commercial, featuring ketchup slowly trickling downward onto a nude meat patty, was our watershed moment, our epiphany."
» The Visual "Finding," the Linguistic "How," and the Interrogative "Talk": Three Examples of Early 21st-Century Rhetoric (BLFJ 77 – August 2012)
"Soon enough, America's purported indie filmmakers will regale us with a 'Remonstrating Cody,' a 'Defibrillating Schnitzler,' a 'Rehumidifying Allison,' or a 'Macerating Tennyson.' Long live the present participle!"
» Random Acts of Sensible Violence: Genre, Hong Kong Censorship, and the Brief Ascent of "Category III" (BLFJ 77 – August 2012)
A New Solution to Herbert Marcuse's Old Riddle
» One Resurrected Drunkard: A Dialogue on Tony Palmer's Testimony (BLFJ 76 – May 2012)
"Palmer's meticulously composed images hide the fact that this film is, in a sense, underdetermined, open to endless speculation; it is uncontrolled, savage, and thus, indeed, sometimes given to uncensored crudity."
» Finger Envy: A Glimpse into the Short Films of VALIE EXPORT (BLFJ 76 – May 2012)
"EXPORT's antagonistic body undergoes a bloody rebirth, her mutilation inhibiting the screen's attempt to dominate the body and recentering a commodified humanity whose "eros" struggles to leave its sanguine imprint."
» The Annihilative Evils of the Polka Tremblante: Fragments on Rhetoric, Naiveté, and Inevitable Helixes (BLFJ 75 – February 2012)
"Leontev's rhetoric, though overblown, might strike a chord in those who lament the replacement of honest, inspired amateurism with the interchangeable bodies of the trousered professional class. But wait . . . the polka tremblante?"
» Eating Cinema: The Frozen Dessert as Audiovisual Synaesthesia (BLFJ 73 – August 2011)
"But we can imagine infinite other, less stodgy flavors: a Saragossa Manuscript of Neapolitan layers within layers within layers; a Cannibal Holocaust of pure cherry surrounding a chunky mystery surprise; a Seventh Seal of precious white vanilla lost in an ominous ocean of midnight chocolate."
» The Tomb of Thingness and Self-Doubt: Against the Cult of Infinity (BLFJ 72 – May 2011)
"One concept corrupts and confuses the others. I am not speaking of the Evil whose limited sphere is ethics. I am speaking of the infinite."

– Jorge Luis Borges

» Toys and Amateurs: On the Ideology of Games and Killers (BLFJ 71 – February 2011)
"Those denied redemption, obviously, cannot raise the ascending tower, and embrace their brokenness with a furious energy that smiles only in clumsy destruction."
» Living the New High Life: A Current Note on Race and Class in America (BLFJ 70 – November 2010)
Or Can Tea Party Porn Strike a Blow for the American Way?
» Freedom from the Pedomorphic Ideal: A Speculation on the Tragically Cute (BLFJ 70 – November 2010)
"Beyond religion, we have resorted to a more modern neurosis to calm our terrors and complement our pretended ennui: cuteness."
» A Cinema of Satyagraha? A Client-Centered Approach to Film Spectatorship (BLFJ 69 – August 2010)
"In our devotion to realism-as-catharsis, we've become so obsessed with psychologizing fictional characters that we forget we are the ones who need humanizing."
» Boris Godunov in America (BLFJ 68 – May 2010)
Notes on a Meyerhold Production Resurrected
» Fassbinder's Satan's Brew: A German Tragedy, Turned Absurd (BLFJ 67 – February 2010)
"Allowing his acidity unfettered reign, Fassbinder concocts one of the most blistering excoriations of despotism ever committed to film."
» Between Nudist Morality and Freudian Realism! Denuding Fleshly Hypocrisies, Cinematic and Otherwise (BLFJ 64 – May 2009)
"Nude on the Moon's exploitation is as innocent as the Good Christo-Nudist's reclaiming of a pre-figleafed (albeit non-recreational) Eden."
» Finding Unlikely Ideology in Prokofiev: Polyphonic and Anti-Authoritarian Gestures in The Gambler (BLFJ 62 – November 2008)
"Alexei must be condemned to the pointless, loveless, and finally false freedom of a spinning limbo, as unfinished and unfinishable as the best Bakhtinian polyphony."
» False Consonance and False Consciousness: Contrarian Notes on the Ideology of Film Music (BLFJ 59 – February 2008)
"Defenseless against music, I must submit to its despotism and, depending on its whim, be god or garbage." — E. M. Cioran
» How to Hate Titles Correctly: A Pillow Book of Misguided Assertions (BLFJ 55 – February 2007)
What's in a name
» Against Pleasure, Against Identification: Feminism, Cultural Atheism, and the Tragic Subject (Part Two) (BLFJ 50 – November 2005)
"The more a man dreams, the less he believes." — H. L. Mencken
» Isolating Isolationism: Recent INDEX Releases from the Austrian Avant-Garde (BLFJ 49 – August 2005)
Part 1: Austrian Exhibitionists
» Against Pleasure, Against Identification: Feminism, Cultural Atheism, and the Tragic Subject (Part One) (BLFJ 47 – February 2005)
Rescuing feminism from rape — and queer theory
» How to Murder John Williams: Toward an Ideology of Contrapuntal Antirealism (BLFJ 46 – November 2004)
To construct musicality through expressionism, or to express musicality through constructivism?
» Blood Feast Revisited, or H. G. Lewis as the Keeper of the Key to All Erotic Mystery (BLFJ 44 – May 2004)
After forty years, now serving porn as intentional camp for erotic consideration
» What We Talk About When We Talk About Ho Meng-Hua (BLFJ 43 – February 2004)
How to strike at the heart of a beast with the heart of a beast
» Twelve-Tone Cinema: A Scattershot Notebook on Sexual Atonality (BLFJ 43 – February 2004)
Is queerness an angry chord or a beautiful harmony?
» Trembling Before G-d, or Die Volkschmiere (BLFJ 41 – August 2003)
Who will judge the judges trembling before sex? The atheists!
» How to Turn One's Back on a Tyrant, Part Two (BLFJ 40 – May 2003)
The opposite of realism is not fantasy, but disappointment
» An Actionist Begins to Sing: An Interview with Otto Mühl (BLFJ 38 – November 2002)
"I have been making art for 50 years and have never quite allowed myself to be corrupted. Quite the opposite, I was locked up." (Otto Mühl)
» Bleeding Realism Dry, or How to Turn One's Back on a Tyrant (BLFJ 37 – August 2002)
The cripplingly small-minded art of verisimilitude becomes crippled by its own technology
» The Japanese Pink Film: Tandem, The Bedroom, and The Dream of Garuda on DVD (BLFJ 36 – April 2002)
All jargon and no authenticity?
» Better Beauty Through Technology: Chinese Transnational Feminism and the Cinema of Suffering (BLFJ 35 – January 2002)
Feminism adrift in a sea of ogling orientalism, global capitalism, and fatalist aesthetics
» Beautiful Mystery and I Like You … I Like You Very Much on DVD (BLFJ 35 – January 2002)
The DVDs of these two rare gay pink films could use some extras and better source prints, but at least they’re here!
» Gohatto — or the End of Oshima Nagisa? (BLFJ 33 – July 2001)
Truly subversive or mere cinematic "seasoning," in the director’s own phrase?
» The Boyz of Bollywood: Kaizad Gustad's Bombay Boys (BLFJ – April 2001)
These boyz mix it up, sort of, in what seems to be India’s first gay indie

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@brightlightsfilm - stills, photos, and images from classic and contemporary films from around the world.


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