Bright Lights Film Journal

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A scene from Anna Melikian's Star

Activist & Political · Directors · Festivals & Awards

0

Red Carpets and Radicals: The Shadow of Reality at the Fifth Odessa International Film Festival (July 11-19, 2014)

  • October 15, 2014

The Fifth Odessa International Film Festival was destined to be unlike its previous editions. Only two months previously, Odessa suffered an unprecedented peak in civil violence with the death of[…]

Books · Directors · Silents

1

Book Review: Allan Dwan and the Rise and Decline of the Hollywood Studios

  • October 12, 2014

Allan Dwan and the Rise and Decline of the Hollywood Studios, by Frederic Lombardi (Jefferson, NC: McFarland, 2013, 370pp, $49.95 from the publisher’s website) Allan Dwan (1885-1981) was one of[…]

Activist & Political · Asian · Reviews

2

Introducing Kashmir: On Haider, Vishal Bharadwaj’s Riff on Hamlet

  • October 7, 2014

“Something is rotten in the state of Kashmir” – Improvising Shakespeare’s Hamlet. It has taken rather long for a feature film set in Kashmir to get critical acclaim for its[…]

Chris Evans as Curtis Everett in Snowpiercer

Activist & Political · Essays · Horror · Reviews · SF & Fantasy

3

We Are Not Who We Are: Human Sacrifice, Philosophical Horror, and (Maybe) the End of the World

  • October 4, 2014

There is a time when the operation of the machine becomes so odious, makes you so sick at heart, that you can’t take part; you can’t even passively take part,[…]

Godard's Goodbye to Language

Directors · Festivals & Awards

0

Like You Know It All: The Power of Godard and Breillat at the 63rd Melbourne International Film Festival (July 31-August 17, 2014)

  • October 1, 2014

“As directors such as Godard, Herzog, and Wenders take on 3D, we sense that for this generation of the avant-garde, the goal is no longer to test the audience’s reliance[…]

Actors & Personalities

1

Quiet Hero: Happy (Belated) Birthday to British Actor Kenneth More (September 20, 1914-July 12, 1982)

  • September 29, 2014

The centenary of the English film and stage actor Kenneth More’s birth falls on September 20 2014. I knew him slightly, and I’m confident in saying he wouldn’t have minded[…]

Actors & Personalities · Essays · LGBT & Queer

0

Fifty Shades of Ick: Gay Panic and Star Discourse/Star Panic and Gay Discourse

  • August 27, 2014

“The privileging of star persona over actor’s craft insists that sex within a narrative cannot, in fact, be a purely storytelling tool: it is required to be both a character[…]

Welles directing Too Much Johnson. Photo courtesy of the Academy of Motion Picture Arts and Sciences.

Directors · Reviews · Silents

8

Too Much Johnson: Recovering Orson Welles’s Dream of Early Cinema

  • August 24, 2014

Orson Welles’s Too Much Johnson is a youthful tribute to low comedy and reflects of his obsession with bygone times, cultural mores & means of expression.

Directors · Documentaries · Reviews · Writers & Critics

4

Big Worms and Big Fish: Jodorowsky, Dune, and Jodorowsky’s Dune

  • August 20, 2014

“Jodorowsky capitalizes on the cachet of exclusivity, the wonderful feeling of being one of the elite few who “get it,” and, in treating it like a source of esoteric wisdom,[…]

Illustration by Hudson Black

Directors · Reviews

0

“Goodbye, John”: On John Cassavetes’ Swan Song, Love Streams (1984)

  • August 14, 2014

Note: Criterion has just released (August 12, 2014) Love Streams in a dual-format DVD/Blu-ray edition. See end of this article for details on extras. * * * “Every picture should[…]

Essays · Horror

2

The Graveyard of Your Fucking Species: Wolfen: The End of the World by Wolves

  • August 11, 2014

“The most powerful aspect of Wolfen is not, then, its status as an exemplary and indeed essential period piece, but its unusual situation of contemporary New York City within the[…]

Crime · Noir · Reviews

1

Flashback: See L.A. Confidential Again . . . the First Time

  • August 10, 2014

This review of L.A. Confidential first appeared in Bright Lights in May 1998. We’ve always been fond of this piece, and are happy to repost it now, not least because[…]

A shot from Lozsnitsa’s Polustanok (Whistlestop) (2000)

Directors · Documentaries

1

A (Re-)Emerging Cinema: New Forms of Documentary in Post-Soviet Russia

  • August 6, 2014

“Just as Peleshian’s friend put it to Daney some time ago, one could still say that there are indeed some people in the documentary sphere in Russian (and post-Soviet) documentary[…]

Festivals & Awards · Reviews

1

A Family Affair: Brooklyn’s BAMcinemaFest (June 18-29, 2014)

  • August 5, 2014

“Based on the sample of crowdfunded films at BAM, “public” funding in a country where public, government funding for arts is rapidly diminishing and has long since paled in comparison[…]

Crime · Directors · Thrillers & Action

2

Late Great Chabrol: Revisiting the French Master’s Final Decade from The Color of Lies (1999) to Inspector Bellamy (2009)

  • July 24, 2014

“Claude Chabrol,” David Thomson wrote in his 2010 obituary, “is the kind of figure who could be reclaimed after death.” Very well, then – four years later there is still[…]

Horror

3

The Monster Is Dead: On Godzilla and the End of Spectacle

  • July 15, 2014

“The monster movie has always been predicated on some anxiety about technology – whether it’s nuclear bombs or genetic engineering – and we may now wonder if this isn’t an[…]

Directors · Exploitation & Erotica · Horror · Reviews

2

The Devils (the Angels): Sympathy for John Landis

  • July 9, 2014

“I can always make something work, if I have a camera.” – John Landis There are two John Landises. There’s the director equally at home with comedy as he is[…]

Directors · Interviews

1

A Product of Their Space: Interview with Joanna Hogg on Her Film Exhibition (2014)

  • July 7, 2014

British filmmaker Joanna Hogg pushes her brave, stripped-back and honest style further with her latest film, Exhibition. Having made a successful debut in 2007 with Unrelated, she continued to focus[…]

Exploitation & Erotica · Photo Essays

0

Frame Analysis: The Title Sequence for Doris Wishman’s Bad Girls Go to Hell (1965)

  • July 3, 2014

“This question of what makes a ‘bad girl’ is posed by the film’s title and answered by its title sequence – implied in the formal quotations (pinups) that inform each[…]

Eddie Murphy in Trading Places

Activist & Political · Reviews

0

Divide(d) and Conquer(ed): Notes on Income Inequality in Late-20th- and Early-21st-Century Cinema

  • July 2, 2014

“As the divide between rich and poor became more extreme, late 20th-century cinema required a new approach to achieve the same end: portraying the existence of the wealthy elite as[…]

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