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

  • 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 →