cinema-scope-magazine-59-coverThis is the complete list of articles from the print magazine issue of Cinema Scope #59. 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 free online are linked below.


FEATURES AND INTERVIEWS

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*Declarations of Independence: A Conversation Between Alex Ross Perry and Joel Potrykus on Film Production, Distribution, and Reception

Diary of a Mad Housewife: Robert Greene’s Actress by Adam Nayman

Cold in July and Jim Mickle’s History of Violence by Jason Anderson

Deborah Stratman: Safe and Sound by Samuel La France

The Public Square: Three Recent Works by Jean-Paul Kelly by Michael Sicinski

*Each Memory Creates Its Own Legend: The Films of John Torres by Max Nelson

And the bande Plays On: Resnais, Riley, and the Comics by Sean Rogers

SPOTLIGHT: CANNES 2014

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*Cannes 2014: Who Let the Dogs Out? by Mark Peranson

*Adieu au langage by Blake Williams

*Jauja by Quintín

*Winter Sleep by Jordan Cronk

*The Wonders by Tom Charity

*Saint Laurent by Boris Nelepo

Le chambre bleue by Christoph Huber

Maidan by Richard Porton

The Tribe by Robert Koehler

The Art of Acting Out: The 46th Quinzaine des Réalisateurs by Glenn Heath Jr.

COLUMNS

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*Editor’s Note

*Deaths of Cinema: Michael Glawogger by Christoph Huber

Film/Art: Mika Taanila Curates Oberhausen by Andréa Picard

*Global Discoveries on DVD by Jonathan Rosenbaum

*Exploded View: Standish Lawder’s Corridor by Chuck Stephens

CURRENCY

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Welcome to New York by Adam Cook

*Stop the Pounding Heart by Jay Kuehner

Joy of Man’s Desiring by Angelo Muredda

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From the Magazine

  • Issue 87: Table of contents

    Alexandre Koberidze, Dasha Nekrasova,Radu Jude, Amalia Ulman, Monte Hellman, TV or not TV, Eberhard and Phyllis Kronhausen, Azor, New Order, Siberia More →

  • Remembering Women: Claudia von Alemann’s Blind Spot

    Cherchez la femme, they say. It sounds nice, but what this expression actually means is that woman is the root of all (male) problems, always to blame. Claudia von Alemann’s extraordinary Blind Spot (Die Reise nach Lyon, 1980), recently restored by the Deutsche Kinemathek in cooperation with the Institut Lumière, is a rare film that puts the pursuit of a woman at its heart—not so that she can be punished, not so that a man’s troubles can be explained, but so that her achievements might be rescued from oblivion and might, in the process, change another woman’s life. More →

  • Common Sense Connoisseur: The Critical Legacy of Bertrand Tavernier

    The two most cherished film books in the pile on my bedside table are in a language my command of which is rudimentary at best. But since both Jacques Lourcelles’ Dictionnaire du Cinéma – Les Films as well as Jean-Pierre Coursodon and Bertrand Tavernier’s 50 ans de cinéma américain have never been translated from French into either English or German, I gladly make do, filling the gaps with a mixture of autodidactic guesswork and occasional dictionary consultation, which for all its drawbacks has proved to be a viable method. More →

  • “I prefer, where truth is important, to write fiction:” On Radu Jude

    In the name of the popular, delighting in reduction and obviousness, a boring assertion: the common ground of every film movement christened a “new wave” over the last 70 years has tended toward revision, a self-conscious desire to provide a true image of the people in opposition to the distorted picture given by whatever relevant iterations of official culture. The banality of this claim can be measured by the volume of cant and platitude produced in support of it, often by the artists themselves. There is, I hope, little need to rehearse these arguments regarding realism, myth, and so on. Who today can help but squirm when faced with the phrase “true image of the people?” More →

  • Siberia (Abel Ferrara, Italy/Germany/Mexico/Greece/UK)

    Abel Ferrara is a changed man. While the evidence suggests that this is very good news for Ferrara himself and his immediate family, it could result in a minor schism in the manner in which his films are received. For most of his career Ferrara has been the subject of a Romantic cult that glorified his legendarily self-destructive behaviour, and often read this (literal) lawlessness as an integral part of his renegade creative vision. More →