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This is the complete list of articles from magazine issue of Cinema Scope #57. 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.


INTERVIEWS

Architecture of Desire: Joanna Hogg’s Exhibition by Paul Dallas

Time and Space: Moments with Lois Patiño by Aaron Cutler

A Hand in the Eye Reaching Out into Space: Robert Beavers on Listening to the Space in My Room by Aliza Ma

FEATURES

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Flicker Flicker Flicker Blam Pow Pow: Five Films by Jodie Mack by Phil Coldiron

An Internal Memo: Gianfranco Rosi’s Sacro GRA by Michael Sicinski

Seeing Through the Past, Again: David Rimmer’s Found-Footage Films by Samuel La France

The Great Depression: Jerry Lewis’ Last Movies by Christoph Huber

The Passage of the Idea: Alain Badiou’s Cinema by Sean Rogers

COLUMNS

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Editor’s Note by Mark Peranson

Deaths of Cinema: Stanley Kauffmann by Andrew Tracy

Global Discoveries on DVD by Jonathan Rosenbaum

Film/Art: Mati Diop by Andréa Picard

Exploded View: Curtis Harrington by Chuck Stephens

SPOTLIGHT: FALL FESTIVAL HIGHLIGHTS

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Hard to Be a God by Olaf Möller

Ida by Jerry White

La jalousie by Blake Williams

Mouton by Jay Kuehner

Redemption by Max Nelson

Rhymes for Young Ghouls by Adam Cook

We Are the Best! by Jason Anderson

The Wind Rises by Jordan Cronk

Why Don’t You Play in Hell? by Calum Marsh

CURRENCY

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Inside Llewyn Davis by Adam Nayman

12 Years a Slave by Julian Carrington

Tom à la ferme by Angelo Muredda

At Berkeley by Max Goldberg

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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 →