Issue Archive
Bright Lights Film Journal began life as a print publication in 1974, published and edited by Gary Morris. In 1995, the magazine went online exclusively as brightlightsfilm.com. In April 2014,[…]
Bright Lights Film Journal began life as a print publication in 1974, published and edited by Gary Morris. In 1995, the magazine went online exclusively as brightlightsfilm.com. In April 2014,[…]
“Rupert Pupkin is uniquely a product of late capitalism near the close of the twentieth century; his fantasies reflect mass media’s ability to twist the real world into an insubstantial collection of images that mimic reality — the representation of self becomes more than the actual self, and it becomes impossible to tell the difference.”
Actors & Personalities · Music & Musicals · Reviews
Sorry, folks, but this is the last dance
Brutal Intimacy: Analyzing Contemporary French Cinema, Tim Palmer. Connecticut: Wesleyan University Press, 2011. Paperback, $28.00. 304pp. ISBN: 978-0819568267 Endemic to any reading of a new work lionizing French cinema is[…]
Hippies and radicals, back of the (cultural) bus
Actors & Personalities · Comedy
“Ernie’s contract is reported to contain a clause forbidding him ever to consult a psychiatrist. The network is afraid if he ever became normal he’d be ruined.” — Dorothy Kilgallen
Featuring Andrea and Steve Martin. Comic geniuses. [youtube=http://www.youtube.com/watch?v=mUMhA8Ye3x8] [youtube=http://www.youtube.com/watch?v=-j-b0kP7Cf8] If the scene in which Steve Martin as Inspector Clousseau attempts to learn English pronunciation (bottom) bears more than a passing resemblance[…]
“The truth is that humour and terror play an equal part in his vision, which takes shape at the point where the two extremes meet.”
“Tashlin’s tenure at Warner Bros. did not provide him with a ‘cartoon aesthetic’ that could be applied, ready-made, to his features; rather, it allowed him to develop a feature filmmaking aesthetic through cartoons.”
“The films of the Coen brothers seem to take place in a postmodern Chelm, displaced chronologically and geographically.”
The Italian (Reginald Barker, 1915) and Traffic in Souls (George Loane Tucker, 1913) The Italian of producer Thomas Ince’s 1915 film is Beppo Donnetti, played by George Beban in a performance[…]
“Don’t these children deserve the respect of a beautiful film?”
I’m sure this is the fifteenth thing you’ve read today about the TROPIC THUNDER scandal, vis a vis “Once upon a time, there was a retard…” but if you haven’t,[…]
“The sorrows of narrative immersion are the joys of Brechtian postmodernism …” I love the films of Howard Hawks but I’ve always dismissed Man’s Favorite Sport as unwatchable, mainly because[…]
Artists · Directors · Movies · Reviews
Life with the restless ghost of Orson Welles’ last movie In 1970, after two decades of European exile broken only by his brief return in 1957-58 to make Touch of[…]
Festivals & Awards · LGBT & Queer
Out of the closets and onto the screen Queer film festivals have always been a crucial flashpoint for community. Starting in the 1970s, with the now sprawling San Francisco version,[…]
Cinema’s supreme pictorialist surrenders to “the cop on the beat” Wallace Beery was always a strange case. An outstanding character actor throughout the silent era and the early sound period,[…]
“It’s a spring break party 24/7 365 days a year!” Bobby Abate In his online bio, queer avant-garde filmmaker Bobby Abate compares himself to Britney Spears. Like her, he says,[…]
“I can’t believe that you let those people put pictures on your skin.” C. W.’s father to C. W. Moss in Bonnie and Clyde
“There she is, in all her beads and ribbons!” How Manhattan is Nothing Sacred? To be more Manhattan, it would have to be Manhattan. Because once more we’re on that[…]
