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.

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Interviews

Leaping and Looping with Shane Carruth – By Robert Koehler

*After-School Special: Joseph Kahn’s Detention – By Adam Nayman

*Middlegame: An Interview with Andrew Bujalski – By Phil Coldiron

Features

*An Ursine Halfabet: Denis Côté’s Vic+Flo ont vu un ours – By Michael Sicinski

*One Horizontal, One Vertical: Some Preliminary Observations on Wong Kar-wai’s The Grandmaster – By Shelly Kraicer

Inner Image Collage (for Tony Scott) – By Daniel Kasman

*Fire in Every Shot: Wang Bing’s Three Sisters – By Thom Andersen

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*Editor’s Note

Deaths of Cinema: Michael Winner – By Christoph Huber

*Film/Art: Lonnie van Brummelen & Siebren de Haan – By Andréa Picard

Spare Change: Into Pat Collins’ Silence – By Jason Anderson

Rotterdam: Cristi Puiu’s Three Interpretation Exercises – By Aaron Cutler

Sundance: American Promise – By Jay Kuehner

*Global Discoveries on DVD – By Jonathan Rosenbaum

Books Around – By Olaf Möller

Canadiana: David Pike’s Canadian Cinema Since the 1980s: At the Heart of the World – By Steve Gravestock

*Exploded View: Chumlum – By Chuck Stephens

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*Passion – By Andrew Tracy

*Django Unchained – By Quintín

Tchoupitoulas – By Calum Marsh

*You Ain’t Seen Nothin’ Yet – By Blake Williams

Tricked – By Adam Nayman

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From the Magazine

  • Cinema Scope 83 Table of Contents

    Interviews *DAU. Diary & Dialogue. Part One: A Living World, by Jordan Cronk The Land Demands Your Effort: C.W Winter (and Anders Edström) on The More →

  • The Land Demands Your Effort: C.W Winter (and Anders Edström) on The Works and Days (of Tayoko Shiojiri in the Shiotani Basin)

    Though the process of watching the onset of life’s end yields gut-wrenching moments, some recorded, some reconstructed, it makes little sense to extract one scene from the whole picture, as the film’s ultimate strength lies in its refusal to privilege, well, anything: an image of a tree means as much as a visit to an onsen, three people walking in the dark, a farmer hoeing her land, or a black screen with no image at all, only an intricately composed soundscape (as the quote introducing the film reads, “Until the moment you are dead you can still hear”). Make no mistake: though mortality is front and centre, this is a salute to the possibilities provided by cinema, a celebration of life. More →

  • DAU. Diary & Dialogue. Part One: A Living World

    At the press conference for the premiere of DAU. Natasha at this year’s Berlinale, director Ilya Khrzhanovsky pre-empted questions regarding the controversial methods involved in the realization of his 14-year passion project—collectively known as DAU—by contrasting the experiences of his actors with the everyday lives of their Soviet-era characters. “All the feelings [depicted in the film] are real,” he said, “but the circumstances are not real in which these feelings happen. More →

  • The Math of Love Triangles: Athina Rachel Tsangari’s Trigonometry

    The most arresting image in the new BBC Studios series Trigonometry (airing in the US this summer on HBO Max and in Canada on CBC Gem) comes in the fifth episode, when restaurateur Gemma (Thalissa Teixeira), in the middle of a difficult Nordic honeymoon getaway with her new husband Kieran (Gary Carr), goes on an evening field trip to see the Northern Lights. As Kieran sulks back at the hotel, she gazes up at a display that imbues the uncanny sensation—for the character, as well as the audience—of a planetarium-show special effect despite its you-are-there authenticity. More →

  • In Search of the Female Gaze

    The trope of a woman removing her glasses to suddenly reveal her great beauty is as familiar as it is eye-roll-inducing. She never looks that different, but her status as an erotic object changes immediately and immensely. A classic example is Dorothy Malone as a bookstore clerk in The Big Sleep (1946), but more recently there is Rachel Leigh Cook descending the stairs to the saccharine sounds of “Kiss Me” in She’s All That (1999). Give up your active gaze, this convention seems to say, and you will be alluring. More →