cs53This is the complete list of articles from magazine issue of Cinema Scope issue 53. 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.

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Interviews

He and “I”: Joaõ Pedro Rodrigues and Joaõ Rui Guerra da Mata on The Last Time I Saw Macao

He and “I”: João Pedro Rodrigues and João Rui Guerra da Mata on The Last Time I Saw Macao  by Aaron Cutler.

Border Crossings: Time and Space with Peter Bo Rappmund by Phil Coldiron.

Find Me Guilty: Joshua Oppenheimer’s The Act of Killing by Adam Nayman.

ENJOY: Slavoj Žižek and The Pervert’s Guide to Ideology by John Semley.

No Sound Is Innocent: Peter Strickland’s Berberian Sound Studio by Jason Anderson.

Features

Opening the Gates of Night: Jean-Claude Brisseau’s La fille du nulle part

A Murderer Cannot Avoid Death: Thoughts on Manoel de Oliveira’s Gebo and the Shadow by Francisco Ferreira.

Opening the Gates of Night: Jean-Claude Brisseau’s La fille du nulle part by Boris Nelepo.

No Angel: Shirley Clarke’s Portrait of Jason by Max Goldberg.

2012 Under the Radar: Three to Watch by Michael Sicinski.

Discovering Another Germany: The Hidden Genius of Dominik Graf by Christoph Huber.

Columns

CS53 Editor’s Note

Editor’s Note

Books Extra: Chris Dumas on Brian De Palma by Andrew Tracy.

Books Around by Olaf Möller.

Film/Art: Gabriel Abrantes by Andréa Picard.

Global Discoveries on DVD by Jonathan Rosenbaum

DVD Bonus: Vamps by Michael Sicinski.

Spare Change: Arraianos by Jay Kuehner.

Exploded View: Bruce Conner’s Breakaway by Chuck Stephens.

Currency

Spring Breakers (Harmony Korine, US)

Stories We Tell by Adam Nayman.

Spring Breakers by Blake Williams.

Argo by Quintín.

Zero Dark Thirty by Michael Nordine.

To the Wonder by Calum Marsh.

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From the Magazine

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  • I See a Darkness: Pedro Costa on Vitalina Varela

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    The prospect of spending an hour and a half with people lacking in notable virtue, alluring vice, or any apparent interest, may seem like an unproductive exercise in forced empathy—but consider this skepticism a function, as opposed to a fault, of these tightly orchestrated, seemingly soporific character studies. More →

  • For a Cinema of Bombardment

    Although there have always been intrepid critics and cinephiles who have engaged with films belonging to the non-narrative avant-garde, there has existed a perception that such films, operating as they do on somewhat different aesthetic precepts, could be considered a separate cinematic realm, one that even the most dutiful critic could engage with or not, as he or she saw fit. More →