Issue 52 Table of Contents

By Cinema Scope / September 17, 2012

This is the complete list of articles from magazine issue of Cinema Scope issue 52. We post selected articles from each issue on the site. For the complete content please subscribe to the magazine, or consider the instant digital download version. * Articles available online Features *Blood and Thunder: Enter the Leviathan by Phil Coldiron…

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CS52 Editor’s Note

By Mark Peranson / September 17, 2012

As far as I’ve been able to tell—from having had the misfortune to watch some or all of close to a thousand films so far this year—the quality of product available to festivals in 2012 is inferior to 2011. But that doesn’t excuse some of the stinkers that are making their way over to North…

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Après mai (Olivier Assayas, France)

By Andrew Tracy / September 11, 2012

As one is virtually a companion piece to the other, it is only natural to begin discussion of Après mai (Something in the Air) with Olivier Assayas’ 2002 memoir A Post-May Adolescence, just published in an elegant English translation by the Austrian Filmmuseum to accompany their new, Kent Jones-edited anthology on Assayas. Eloquent and thoughtful,…

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Rebelle (Kim Nguyen, Canada)

By Kiva Reardon / September 11, 2012

The year in cinema has been stamped with a modicum of magical realism. First up at Sundance was Benh Zeitlin’s Beasts of the Southern Wild, a film routinely described as “lyrical” and “heartwarming.” Now there is Montréal director Kim Nguyen’s Rebelle, arriving at fall festivals after bowing in Berlin and taking top honours in Tribeca.…

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The Master (Paul Thomas Anderson, US)

By Gabe Klinger / September 11, 2012

The evolution in Paul Thomas Anderson’s oeuvre towards impeccably researched, stunningly visualized mythological explorations of the American character in There Will Be Blood (2007) and The Master represents a starling 180-degree turn. Staying within a certain autobiographical comfort zone in his first four features—Hard Eight (1996), Boogie Nights (1997), Magnolia (1999) and Punch-Drunk Love (2002),…

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Exploded View | Paul Sharits by Chuck Stephens

By Chuck Stephens / September 11, 2012

“One of his best-known works, N:O:T:H:I:N:G, features a light bulb and a chair.” Paul Sharits remains the most structurally precise and disturbingly unknowable experimental filmmaker of the late 20th century, much written about and yet still wholly enigmatic, his work spare, blunt, baffling, often enraged, and always overwhelmingly beautiful. P. Adams Sitney long ago claimed…

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DVD Bonus | Upper West Side Story: Kenneth Lonergan’s Margaret

By Robert Koehler / September 11, 2012

So, in the end, #teammargaret wins. Kenneth Lonergan’s Margaret, the first movie rescued from oblivion by Twitter, is now properly viewable. Initially released by Fox Searchlight on two screens in New York and Los Angeles last October with virtually no promotion, the famously beleaguered production appeared to be DOA until Slant’s Jaime Christley’s famously successful…

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DVD: Some More Auteurist & Non-Auteurist Shopping Tips

By Jonathan Rosenbaum / September 11, 2012

1. IL CINEMA RITROVATO DVD AWARDS 2012 IX edition Jurors: Lorenzo Codelli, Alexander Horwath, Mark McElhatten, Paolo Mereghetti, Jonathan Rosenbaum BEST DVD 2011/2012 The Complete Humphrey Jennings (BFI). An ongoing series that has recently released the second of its three prefigured volumes. Jennings was the documentarian who witnessed British history with a deep and poetic…

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Golden Girls: Sean Baker’s Starlet

By Adam Nayman / September 11, 2012

The opening shot of Sean Baker’s fourth feature Starlet is beautiful, and not just because it (eventually) rests on Dree Hemingway. Underneath dreamy, faintly menacing music by Manual, we fade up on a mottled wall cast in sunlight, with some sort of tousled mass peeking out slightly from below. That little blonde outcropping is our…

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Wandering in Vienna: Jem Cohen and the Adventure of Museum Hours

By Robert Koehler / September 11, 2012

“Kunsthistorisches. It’s the big old one.” This is how Vienna’s massive, venerable, lovely and, indeed, elderly central art museum is termed in Jem Cohen’s Museum Hours, and it neatly sums up the film’s warm, casual attitude toward weighty cultural institutions while serving as a way of reframing formerly perceived paragons of elitism in a more…

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Lost in the Moment: Peter Mettler on The End of Time

By Jason Anderson / September 11, 2012

After travelling through such far-flung sites as Detroit, Hawaii, India, and the geek-tacular labyrinth that is CERN’s Large Hadron Collider near Geneva, Peter Mettler’s latest documentary finally leaves the material world altogether, arriving at a ripping pool of sounds and images that rates as the most splendiferously trippy sequence of the filmmaker’s career. Yet there’s…

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Role Models: The Films of Matías Piñeiro

By Quintin / September 11, 2012

Like most of his colleagues in recent Argentinean cinema, Matías Piñeiro is a graduate from the Universidad del Cine, and, like many of them, works outside the national funding system. Born in 1982 in Buenos Aires, Piñeiro, despite three features (El hombre robado, 2007; Todos mienten, 2009; Viola, 2012) and a 40-minute film commissioned for…

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Burru’s Abominable Dialectic: Nicolas Rey’s autrement, la Molussie

By Michael Sicinski / September 11, 2012

In composing this essay on Nicolas Rey’s latest film, I have opted to follow a principle similar to the one that gives his film its overall shape. The essay consists of six semi-autonomous sections, which I have assigned an order using a random-number generating system. There were also additional sections that, according to the randomizing…

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Blood and Thunder: Enter the Leviathan

By Phil Coldiron / September 11, 2012

Let’s start with a coincidence. The title of Part I, Chap. 1 of Thomas Hobbes’ Leviathan: “Of Sense.” The name of the Harvard project headed by Lucien Castaing-Taylor, whose new film, made in collaboration with Véréna Paravel, shares a title with Hobbes’ seminal work of political philosophy: the Sensory Ethnography Lab. This isn’t to say…

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