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Cinema Scope 76 Table of Contents

By Cinema Scope In CS76, From The Magazine, Table of Contents

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INTERVIEWS

*Teller of Tales: Mariano Llinás on La Flor by Jordan Cronk

*Everything Transitory Is But an Image: Andrea Bussmann on Fausto by Josh Cabrita and Adam Cook

A Banished Life: Ying Liang on A Family Tour by Clarence Tsui.

*Mass Ornaments: Jodie Mack on The Grand Bizarre by Blake Williams

FEATURES

*Tous les garçons et les filles: Philippe Lesage’s Genèse and Les demons by Adam Nayman

*Touch Me I’m Sick: Alex Ross Perry’s Her Smell by Jason Anderson

*First Person Plural: On Orson Welles’ The Other Side of the Wind by Phil Coldiron

Hidden Lives and Quiet Passion: Alias John M. Stahl by Christoph Huber

No Emperor, Only an Empress: The Self-Made Myth of Marlene Dietrich by Alicia Fletcher

The Business of Horror: John Carpenter, Stephen King, and In the Mouth of Madness by Sean Rogers

Beyond Good and Evil: Damon Packard’s Los Angeles by Michael Sicinski

On No Thing: Jean-Luc Godard’s Grandeur et décadence d’un petit commerce de cinéma by Lawrence Garcia

COLUMNS

*Editor’s Note by Mark Peranson

*Deaths of Cinema: Hu Bo by Celluloid Liberation Front

Film/Art: Jeremy Shaw’s Quantification Trilogy by Jesse Cumming

*Global Discoveries on DVD by Jonathan Rosenbaum

DVD Bonus: G.W. Pabst’s Westfront 1918 and Kameradschaft by Peter Mersereau

*Exploded View: Robert Smithson’s Spiral Jetty by Chuck Stephens

CURRENCY

*Transit by James Lattimer

Sorry to Bother You by Madeleine Wall

Blaze by Robert Koehler

*The Load by Azadeh Jafari

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From the Magazine
- Cinema Scope Issue 86 Table of Contents
  
  The Cinema Scope Top Ten of 2020 Interviews The Girl and the Spider *En plein air: Denis Côté on Hygiène
- The Cinema Scope Top Ten of 2020
  
  1. Days (Tsai Ming-liang) 2. The Works and Days (of Tayoko Shiojiri in the Shiotani Basin) (C.W. Winter and Anders
- TV or Not TV | The Politics of Dancing: Adam Curtis’ Can’t Get You Out of My Head
  
  With the arrival of any new Adam Curtis film comes a deluge of coverage, commentaries, analysis, harangues, point-counterpoints, fact checks, further-reading lists, and good old-fashioned snark spread across an ever-expanding plethora of platforms. The resulting cacophony makes one of the fundamental appeals of Curtis’ practice—his seeming ability to wrest a temporary sense of order and coherence from a dense matrix of ideas, factoids, fragments, and audiovisual ephemera from deep within the BBC archive that otherwise threatens to feel as disordered and disorienting as everyday life—seem all the more valuable.
- DVD | Reclaiming the Dream: Joyce Chopra’s Smooth Talk
  
  Her reflection comes as a revelation. In the safety of her bedroom, Connie (Laura Dern), the 15-year-old protagonist of Joyce Chopra’s 1985 feature debut Smooth Talk (recently released on a Criterion Blu-ray), adjusts her new halter top in the mirror, its strings crisscrossed down the middle of her chest to hang limp over her exposed midriff. The camera observes her in profile as she spins and arches her back, her gaze glued to the supple body in the reflection, luxuriating in her new possession.
- Gag Orders: The Trial of the Chicago 7 and Judas and the Black Messiah
  
  Bobby Seale makes a cameo of sorts midway through Judas and the Black Messiah, as Martin Sheen’s porcine J. Edgar Hoover—checking in personally on the progress of the FBI’s campaign against Chicago Black Panther Party chairman Fred Hampton (Daniel Kaluuya)—is shown an artist’s sketch of the BPP’s national chairman gagged and shackled in the courtroom during the Chicago Conspiracy Trial. This revolting spectacle understandably serves as the mid-film dramatic highpoint of The Trial of the Chicago 7, when the repeated, suitably indignant demands by Seale (Yahya Abdul-Mateen II) to serve as his own defense counsel in the absence of his hospitalized lawyer—and presiding judge Julius Hoffman’s (Frank Langella) incredible refusal to grant this right, instead directing that Seale’s defense should be undertaken by the representatives for the other defendants—ultimately lead to him being bodily removed from the courtroom by marshals and returned in chains. That image of a defiant Black man, forcibly silenced and immobilized in a hall of American justice, became one of William Burroughs’ “frozen moment[s] at the end of the newspaper fork,” when everyone—including those who would applaud it—can see what they’re being fed.

Cinema Scope Issue 86 Table of Contents

The Cinema Scope Top Ten of 2020 Interviews The Girl and the Spider *En plein air: Denis Côté on Hygiène sociale by Jordan Cronk *The More →
The Cinema Scope Top Ten of 2020

1. Days (Tsai Ming-liang) 2. The Works and Days (of Tayoko Shiojiri in the Shiotani Basin) (C.W. Winter and Anders Edström) 3. The Year of More →
TV or Not TV | The Politics of Dancing: Adam Curtis’ Can’t Get You Out of My Head

With the arrival of any new Adam Curtis film comes a deluge of coverage, commentaries, analysis, harangues, point-counterpoints, fact checks, further-reading lists, and good old-fashioned snark spread across an ever-expanding plethora of platforms. The resulting cacophony makes one of the fundamental appeals of Curtis’ practice—his seeming ability to wrest a temporary sense of order and coherence from a dense matrix of ideas, factoids, fragments, and audiovisual ephemera from deep within the BBC archive that otherwise threatens to feel as disordered and disorienting as everyday life—seem all the more valuable. More →
DVD | Reclaiming the Dream: Joyce Chopra’s Smooth Talk

Her reflection comes as a revelation. In the safety of her bedroom, Connie (Laura Dern), the 15-year-old protagonist of Joyce Chopra’s 1985 feature debut Smooth Talk (recently released on a Criterion Blu-ray), adjusts her new halter top in the mirror, its strings crisscrossed down the middle of her chest to hang limp over her exposed midriff. The camera observes her in profile as she spins and arches her back, her gaze glued to the supple body in the reflection, luxuriating in her new possession. More →
Gag Orders: The Trial of the Chicago 7 and Judas and the Black Messiah

Bobby Seale makes a cameo of sorts midway through Judas and the Black Messiah, as Martin Sheen’s porcine J. Edgar Hoover—checking in personally on the progress of the FBI’s campaign against Chicago Black Panther Party chairman Fred Hampton (Daniel Kaluuya)—is shown an artist’s sketch of the BPP’s national chairman gagged and shackled in the courtroom during the Chicago Conspiracy Trial. This revolting spectacle understandably serves as the mid-film dramatic highpoint of The Trial of the Chicago 7, when the repeated, suitably indignant demands by Seale (Yahya Abdul-Mateen II) to serve as his own defense counsel in the absence of his hospitalized lawyer—and presiding judge Julius Hoffman’s (Frank Langella) incredible refusal to grant this right, instead directing that Seale’s defense should be undertaken by the representatives for the other defendants—ultimately lead to him being bodily removed from the courtroom by marshals and returned in chains. That image of a defiant Black man, forcibly silenced and immobilized in a hall of American justice, became one of William Burroughs’ “frozen moment[s] at the end of the newspaper fork,” when everyone—including those who would applaud it—can see what they’re being fed. More →