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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
- The Primacy of Perception: Ramon & Silvan Zürcher on The Girl and the Spider
  
  Near the midpoint of The Girl and the Spider—Ramon and Silvan Zürcher’s overdue, much anticipated follow-up to their masterful debut feature, The Strange Little Cat (2013)—a character launches into another of the Zürcher brothers’ distinctive anecdotal monologues. Mara (Henriette Confurius), who is as close as this film gets to a protagonist, describes for her neighbour, Kerstin (Dagna Litzenberger-Vinet), an incident that occurred the previous day between herself and her newly ex-roommate (and perhaps ex-girlfriend) Lisa (Liliane Amuat). “I was in my room while Lisa was on the toilet,” she recounts. “She asked me to bring her a roll of toilet paper. Instead of giving it to her, I walked past the door from left to right, from Lisa’s point of view.” The image cuts to the scene while she recalls it, privileging us with a more objective account of the incident: a fixed shot showing Mara stand up from her desk, grab a package of toilet paper, and march past the door, her arms outstretched like a zombie.
- Exploded View: Steina & Woody Vasulka
  
  Icelandic filmmaker Hrafnhildur Gunnarsdóttir’s extraordinarily warming 2019 documentary The Vasulka Effect, about the protean Euro-hippies and rightfully dubbed “grandparents of video art,” Steina and Woody Vasulka, was exactly the movie I needed to see this winter. Awash in Nordic echoes even as it confronts the modern realities of art-gallery politics and the history of America’s visual-arts fringes, it’s a mythical origin story that’s actually true, all about ancient heroes and ravaging time.
- Canadiana | Reading Aids: The Good Woman of Sichuan and Ste. Anne
  
  When navigating the as-yet-unknown films of a festival program, nationality still provides a persuasive point of reference for some, a feeling underlined by the proud declarations issued by national funding organizations, promotional bodies, or particularly partisan members of the press once titles have been announced. This year’s reduced Berlinale Forum lineup also invites tenuous lines of this kind to be drawn (two films from Argentina, two films from Canada!), although the three Franco-German co-productions shot elsewhere say far more about how films are made in 2021.

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 →
The Primacy of Perception: Ramon & Silvan Zürcher on The Girl and the Spider

Near the midpoint of The Girl and the Spider—Ramon and Silvan Zürcher’s overdue, much anticipated follow-up to their masterful debut feature, The Strange Little Cat (2013)—a character launches into another of the Zürcher brothers’ distinctive anecdotal monologues. Mara (Henriette Confurius), who is as close as this film gets to a protagonist, describes for her neighbour, Kerstin (Dagna Litzenberger-Vinet), an incident that occurred the previous day between herself and her newly ex-roommate (and perhaps ex-girlfriend) Lisa (Liliane Amuat). “I was in my room while Lisa was on the toilet,” she recounts. “She asked me to bring her a roll of toilet paper. Instead of giving it to her, I walked past the door from left to right, from Lisa’s point of view.” The image cuts to the scene while she recalls it, privileging us with a more objective account of the incident: a fixed shot showing Mara stand up from her desk, grab a package of toilet paper, and march past the door, her arms outstretched like a zombie. More →
Exploded View: Steina & Woody Vasulka

Icelandic filmmaker Hrafnhildur Gunnarsdóttir’s extraordinarily warming 2019 documentary The Vasulka Effect, about the protean Euro-hippies and rightfully dubbed “grandparents of video art,” Steina and Woody Vasulka, was exactly the movie I needed to see this winter. Awash in Nordic echoes even as it confronts the modern realities of art-gallery politics and the history of America’s visual-arts fringes, it’s a mythical origin story that’s actually true, all about ancient heroes and ravaging time. More →
Canadiana | Reading Aids: The Good Woman of Sichuan and Ste. Anne

When navigating the as-yet-unknown films of a festival program, nationality still provides a persuasive point of reference for some, a feeling underlined by the proud declarations issued by national funding organizations, promotional bodies, or particularly partisan members of the press once titles have been announced. This year’s reduced Berlinale Forum lineup also invites tenuous lines of this kind to be drawn (two films from Argentina, two films from Canada!), although the three Franco-German co-productions shot elsewhere say far more about how films are made in 2021. More →