Archive

In the Year 2049 [October 10, 2017]

TIFF 2017 [September 16, 2017]

In the Margins of Cunningham’s Friday the 13th [June 26, 2017]

On Contemporary Film Criticism, Continued [June 14, 2017]

On Smolders’ La part de l’ombre [June 14, 2017]

On Smith’s The Black Tower [June 14, 2017]

The Age of Imitation: A Primer of New American Nostalgia, 2007-2017 [April 16, 2017]

Poison of Truth: Taboo and Abject Experience in the Films of Marina de Van, 1996-2002 [March 15, 2017]

Films in 2016 [December 20, 2016]

Phantoms, Anachronism, and Modernity in Kurosawa’s Daguerrotype [December 10, 2016]

Haunted: Literary Phantoms in Perkins’ I Am the Pretty Thing That Lives in the House [October 18, 2016]

TIFF 2016 [September 16, 2016]

Nightshade in Watercolor: Michelet’s Natural History in Yamamoto’s Belladonna of Sadness [July 13, 2016]

Thou Art a Wickedness: Myth and Alchemic Beauty in Refn’s The Neon Demon [July 7, 2016]

On Contemporary Film Criticism [June 28, 2016]

On Films That Resemble Dreams [June 28, 2016]

Pastiche: Viva and Darling [June 28, 2016 – written April-May, 2016]

On Kaznyk’s The Case [June 9, 2016]

On Rollin’s Tout le monde il en a deux and Levres de sang: Digressions [April 27, 2016]

Sighs: Never Mind Guadagnino’s Suspiria [April 6, 2016]

On Portabella’s Cuadecuc vampir [March 22, 2016]

On Bates’ Excision [March 21, 2016]

Iconography and Episteme: On Eggers’ The Witch [February 26, 2016]

Reminiscence of VHS [February 19, 2016]

On Siskel and Ebert’s Trashing of the Horror Film [February 2, 2016 – written October 2014]

On Color in Zulawski’s Possession [February 2, 2016 – written October 2014]

Films in 2015 [December 18, 2015]

On Basset’s Horsehead and the Fantastique [December 15, 2015]

Macabre: On Epstein’s The Fall of the House of Usher and Perkins’ February [December 15, 2015]

The Island and the Comet: Epicenism and Biology Horror in Hadzihalilovic’s Evolution [November 17, 2015]

Boro in the Book: Three Monographs on Walerian Borowczyk [October 22, 2015]

Violets from Parma: Giallo Content/Giallo Style [October 20, 2015]

TIFF 2015 [September 18, 2015]

‘Cult Films’ and Conformity [August 10, 2015]

On Filmmaking and Objectification [July 9, 2015 – written in March 2015]

The Lynch-Centric Universe [July 9, 2015]

Better the Devil You Know: The Double and the Cold War in Zulawski’s Possession [July 3, 2015]

The Cold War in Zulawski’s La femme publique [July 2, 2015]

The Double in Zulawski’s La femme publique [July 2, 2015]

On Mitchell’s It Follows: Literary Allusions [March 31, 2015]

On Avati’s Zeder [March 7, 2015]

Love Rites: Oneiros, Erotic Ritual, and Metacinema in Strickland’s The Duke of Burgundy [March 1, 2015]

Kieslowski’s Red at Twenty [December 2, 2014]

On Strickland’s Berberian Sound Studio [November 8, 2014]

On Zulawski’s La femme publique [November 1, 2014]

Vera Chytilova and the Notion of ‘New Wave’ [September 26, 2014]

C’était Fascination: Language and Iconography of Social Class in Rollin’s Fascination [September 16, 2014]

Bubblegum for the Bourgeoisie [October 30, 2014]

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