Julian Upton Black-and-white cinema effectively died out almost overnight in the mid-1960s. But in the face of a decade of serious competition from colour and widescreen — not to mention visual fads like 3D — black-and-white cinematography remained innovative and even experimental as it reached what looked like its endpoint. The evidence from a host…
Luke McKernan What do moving images mean? How and why do they work? In sixty short, engaging essays film archivist, curator, historian and writer Luke McKernan looks at 140 years of a bewitching medium, focussing on the importance of stories and form in shaping the moving images on our screens. Here for the table of…
Caveh Zahedi With his characteristic candor, wit, and steadfast belief in radical honesty, this collection of personal essays, critical reviews, and selected diary entries from Caveh Zahedi takes the reader on an itinerant tour through subjects as varied as his own artistic and spiritual journey, his trials and tribulations in the indie film world, encounters…
Ross Lipman How do classic films remain alive and authentic amidst the shifting sands of time, societal upheaval, and technological advance? The Archival Impermanence Project is a unique work integrating detailed film restoration case studies from the dawn of cinema to present day, in the framework of an organic theory of practice. Growing from the multi-decade career…
Ian Christie “Immersion” is everywhere in entertainment today. But this promise didn’t start with digital media — it was over two hundred years ago that Georgian London became the world centre of such immersive spectacles as the Leicester Square Panorama, the Eidophusikon’s magical moving pictures with music, and a hundred years later, cinema itself was…
Nat Segaloff Between 1934 and 1968, no Hollywood studio could make a movie without the permission of and a seal of approval from the Production Code Administration. The Production Code was Hollywood’s official censor. Screenplays, books, plays, costumes and even story ideas and songs had to be okayed by the Code before they could be…
Scott MacDonald The goal of virtually all my writing has been to bring attention to cinematic (and, early on, literary) accomplishments that have not received the careful attention, or the audiences, they deserve. I’m hoping that this new collection might create awareness of cultural achievements that have remained underserved or are in danger of fading…
Adrian Martin Foreword by Jude Radu Filmmakers Thinking begins from a simple premise: that we do not take the ongoing reflections of filmmakers about their medium, their art and their craft, seriously enough. Every day, everywhere, filmmakers are asked to talk mainly about themselves and their own works. Yet their vocation springs from a deep…