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	<title>Cinema Scope</title>
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	<description>Expanding the Frame on International Cinema</description>
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		<title>Boring Twenties: Baz Luhrmann’s The Great Gatsby</title>
		<link>http://cinema-scope.com/currency/boring-twenties-baz-luhrmanns-the-great-gatsby/</link>
		<comments>http://cinema-scope.com/currency/boring-twenties-baz-luhrmanns-the-great-gatsby/#comments</comments>
		<pubDate>Fri, 10 May 2013 22:25:39 +0000</pubDate>
		<dc:creator>Adam Nayman</dc:creator>
				<category><![CDATA[Cinema Scope Online]]></category>
		<category><![CDATA[Currency]]></category>
		<category><![CDATA[Baz Luhrmann]]></category>
		<category><![CDATA[Carey Mulligan]]></category>
		<category><![CDATA[Leonardo DiCaprio]]></category>
		<category><![CDATA[The Great Gatsby]]></category>

		<guid isPermaLink="false">http://cinema-scope.com/?p=7312</guid>
		<description><![CDATA[By Adam Nayman Before it’s even begun, Cannes 2013 is off to a dubious start with The Great Gatsby. Even if nobody really expected this latest version of F. Scott Fitzgerald’s epochal novel to be worthy (of an Opening Night slot or anything else), it doesn’t even manage to be outrageous. For long stretches Baz [...]]]></description>
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		<title>Deaths of Cinema &#124; Blank Slate: Remembering Les Blank</title>
		<link>http://cinema-scope.com/columns/deaths-of-cinema-blank-slate-remembering-les-blank/</link>
		<comments>http://cinema-scope.com/columns/deaths-of-cinema-blank-slate-remembering-les-blank/#comments</comments>
		<pubDate>Sun, 28 Apr 2013 00:01:36 +0000</pubDate>
		<dc:creator>Max Goldberg</dc:creator>
				<category><![CDATA[Cinema Scope Online]]></category>
		<category><![CDATA[Columns]]></category>
		<category><![CDATA[Les Blank]]></category>

		<guid isPermaLink="false">http://cinema-scope.com/?p=7297</guid>
		<description><![CDATA[By Max Goldberg Much like the bastions of freedom and vernacular art he so lovingly recorded, Les Blank’s films seem a kind of arcadia on the horizon of documentary film. Blank died earlier this month at the age of 77, leaving behind a singularly festive body of work. Especially in the many small masterpieces shot [...]]]></description>
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		<title>Between the Walls: Images Festival 2013</title>
		<link>http://cinema-scope.com/cinema-scope-online/between-the-walls-images-festival-2013/</link>
		<comments>http://cinema-scope.com/cinema-scope-online/between-the-walls-images-festival-2013/#comments</comments>
		<pubDate>Sat, 20 Apr 2013 16:53:34 +0000</pubDate>
		<dc:creator>Michael Sicinski</dc:creator>
				<category><![CDATA[Cinema Scope Online]]></category>
		<category><![CDATA[Festivals]]></category>

		<guid isPermaLink="false">http://cinema-scope.com/?p=7292</guid>
		<description><![CDATA[By Michael Sicinski Was 2013 a strong year for Toronto’s Images Festival? It’s quite possible, although in some ways it depends on where you look and, as per this festival’s unique mandate, how one looks. Unlike most other showcases of experimental film and video, Images has been integrating gallery and museum work into its presentations [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<title>By the Book: Evil Dead</title>
		<link>http://cinema-scope.com/currency/by-the-book-evil-dead/</link>
		<comments>http://cinema-scope.com/currency/by-the-book-evil-dead/#comments</comments>
		<pubDate>Fri, 05 Apr 2013 17:32:39 +0000</pubDate>
		<dc:creator>Adam Nayman</dc:creator>
				<category><![CDATA[Cinema Scope Online]]></category>
		<category><![CDATA[Currency]]></category>

		<guid isPermaLink="false">http://cinema-scope.com/?p=7279</guid>
		<description><![CDATA[By Adam Nayman In Fede Alvarez’s Evil Dead—which pointedly but pointlessly drops the definite article from its title—the demonic spirit is willing and the flesh is as weak as it needs to be: not since Carter Smith’s underrated 2006 adaptation of The Ruins (or maybe Danny Boyle’s 127 Hours) has a movie focused so intently [...]]]></description>
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		<title>“No One Can Survive In That Water”: Jane Campion and Garth Davis’ Top of the Lake</title>
		<link>http://cinema-scope.com/currency/no-one-can-survive-in-that-water-jane-campion-and-garth-davis-top-of-the-lake/</link>
		<comments>http://cinema-scope.com/currency/no-one-can-survive-in-that-water-jane-campion-and-garth-davis-top-of-the-lake/#comments</comments>
		<pubDate>Mon, 01 Apr 2013 02:08:19 +0000</pubDate>
		<dc:creator>Michael Sicinski</dc:creator>
				<category><![CDATA[Cinema Scope Online]]></category>
		<category><![CDATA[Currency]]></category>

		<guid isPermaLink="false">http://cinema-scope.com/?p=7263</guid>
		<description><![CDATA[By Michael Sicinski Although the new miniseries Top of the Lake had its world premiere this past January at the Sundance Film Festival, it is darkly fortuitous that it should have its television run two months later. March has seen the emergence of details from the rape of a young woman in Steubenville, Ohio, material [...]]]></description>
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		<title>Issue 54 Table of Contents</title>
		<link>http://cinema-scope.com/cinema-scope-magazine/cs54-table-of-contents/</link>
		<comments>http://cinema-scope.com/cinema-scope-magazine/cs54-table-of-contents/#comments</comments>
		<pubDate>Fri, 22 Mar 2013 01:17:44 +0000</pubDate>
		<dc:creator>Cinema Scope</dc:creator>
				<category><![CDATA[CS54]]></category>
		<category><![CDATA[From The Magazine]]></category>
		<category><![CDATA[Table of Contents]]></category>

		<guid isPermaLink="false">http://cinema-scope.com/?p=7070</guid>
		<description><![CDATA[This is the complete list of articles from magazine issue of Cinema Scope issue 54. We post a few selected articles from each issue on the site. For the complete content, and to help Cinema Scope continue, please subscribe to the magazine, or consider the instant digital download version. * Articles available available free online Interviews Leaping and Looping [...]]]></description>
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		<title>Cinema Scope 54 Editor’s Note</title>
		<link>http://cinema-scope.com/columns/cinema-scope-54-editors-note/</link>
		<comments>http://cinema-scope.com/columns/cinema-scope-54-editors-note/#comments</comments>
		<pubDate>Fri, 22 Mar 2013 00:43:38 +0000</pubDate>
		<dc:creator>Mark Peranson</dc:creator>
				<category><![CDATA[Columns]]></category>
		<category><![CDATA[CS54]]></category>
		<category><![CDATA[From The Magazine]]></category>

		<guid isPermaLink="false">http://cinema-scope.com/?p=7105</guid>
		<description><![CDATA[By Mark Peranson First of all, apologies for the quality of this issue, and this editor’s note in general. I take full blame when things go wrong at Cinema Scope headquarters, which for the better part of six weeks has been in hotel and conference rooms in Rotterdam, Berlin, Mexico City, Guadalajara, and Austin, oh, [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<title>You Ain’t Seen Nothin’ Yet (Alain Resnais, France)</title>
		<link>http://cinema-scope.com/currency/you-aint-seen-nothin-yet-alain-resnais-france/</link>
		<comments>http://cinema-scope.com/currency/you-aint-seen-nothin-yet-alain-resnais-france/#comments</comments>
		<pubDate>Thu, 21 Mar 2013 05:07:53 +0000</pubDate>
		<dc:creator>Blake Williams</dc:creator>
				<category><![CDATA[CS54]]></category>
		<category><![CDATA[Currency]]></category>
		<category><![CDATA[From The Magazine]]></category>

		<guid isPermaLink="false">http://cinema-scope.com/?p=7127</guid>
		<description><![CDATA[By Blake Williams That Alain Resnais would endow his follow-up to his neurologically scrambled masterpiece Les herbes folles (2009) with the title You Ain’t Seen Nothin’ Yet seems like a goad to premature eulogists. As Resnais would be turning 90 a fortnight after the film’s Cannes premiere last year, many journalists in attendance presumptuously deemed [...]]]></description>
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		<title>Django Unchained (Quentin Tarantino, US)</title>
		<link>http://cinema-scope.com/currency/django-unchained-quentin-tarantino-us/</link>
		<comments>http://cinema-scope.com/currency/django-unchained-quentin-tarantino-us/#comments</comments>
		<pubDate>Thu, 21 Mar 2013 05:06:02 +0000</pubDate>
		<dc:creator>Quintin</dc:creator>
				<category><![CDATA[CS54]]></category>
		<category><![CDATA[Currency]]></category>
		<category><![CDATA[From The Magazine]]></category>
		<category><![CDATA[Django Unchained]]></category>
		<category><![CDATA[Lincoln]]></category>
		<category><![CDATA[Quentin Tarantino]]></category>
		<category><![CDATA[Quintín]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[Steven Spielberg]]></category>

		<guid isPermaLink="false">http://cinema-scope.com/?p=7125</guid>
		<description><![CDATA[By Quintín In one of the first scenes of Steven Spielberg’s Lincoln (2012), a black soldier stands proudly and defiantly in front of the President and, without technically overstepping the bounds of respectfulness, argues that African-Americans (it sounds ridiculous to use that term in this context, doesn’t it?) deserve pay equal to that of white [...]]]></description>
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		<slash:comments>2</slash:comments>
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		<title>Exploded View:  Ron Rice’s Chumlum</title>
		<link>http://cinema-scope.com/columns/exploded-view-ron-rices-chumlum/</link>
		<comments>http://cinema-scope.com/columns/exploded-view-ron-rices-chumlum/#comments</comments>
		<pubDate>Thu, 21 Mar 2013 05:02:24 +0000</pubDate>
		<dc:creator>Chuck Stephens</dc:creator>
				<category><![CDATA[Columns]]></category>
		<category><![CDATA[CS54]]></category>
		<category><![CDATA[From The Magazine]]></category>

		<guid isPermaLink="false">http://cinema-scope.com/?p=7122</guid>
		<description><![CDATA[By Chuck Stephens “Her eye saw not just beauty but incredible, delirious, drug-like hallucinatory beauty.” Jack Smith—creature on fire, ruler of lost Atlantis, and author of the bite-sized encomium to the “perfect filmic appositeness” of Maria Montez quoted above—looms before us in a column of late afternoon loft-light, head swaddled in toilet paper, face swallowed [...]]]></description>
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