James Slaymaker is a journalist, researcher, and filmmaker. His articles have been published in Senses of Cinema, Bright Lights Film Journal, MUBI Notebook, Little White Lies, McSweeney’s, Kinoscope, The Interactive Film and Media Journal, and others. His first book is Time Is Luck: The Life and Cinema of Michael Mann (Telos Publishing, 2022). His films have been featured on Fandor, MUBI, and The Film Stage, as well as screening at the London DIY Film Festival, the Concrete Dream Film Festival, the InShort Film Festival, and The Straight Jacket Film Festival. He has a PhD from the University of Southampton, where his research focused on digital technology, the essay film, and collective memory. He is currently in the process of developing it into a monograph.
Just as Holy Motors simultaneously mourned the loss of physicality from filmmaking while embracing the creative possibilities offered by digital technology, Annette is built on a seeming paradox: it plunges[…]
Stereoscopic experience, therefore, drastically alters the positioning of the viewer in relation to diegetic content, creating the illusion that the body of the spectator is immersed within the screen planes[…]
Through its complex use of multiple depth planes, deep-focus compositions, close proximity with on-screen texture, Pompeii crafts a vision of an ancient culture that can be described as hyper-haptic; in[…]
The Color Wheel has been criticized in some circles for having an improvisatory and unfocused structure, yet all the film’s major thematic concerns are explicitly introduced in its compact pre-credit[…]