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 84 Table of Contents

    INTERVIEWS *The Act of Living: GianfrancThe Act of Living: Gianfranco Rosi on Notturnoo Rosi on Notturno By Mark Peranson*Reconstructing Violence: Nicolás Pereda on Fauna By More →

  • The Act of Living: Gianfranco Rosi on Notturno

    “The night scares me so much,” confesses a courageous Yazidi pre-teen girl to a therapist, remembering the period when she and her younger sister were captured by ISIS. Anyone who was seen crying would be killed, they were told; it turned out to be a vacant threat, but the sisters were still beaten, and now they are attempting to exorcise their memories by drawing pictures of them. Does it help? We never find out. More →

  • Reconstructing Violence: Nicolás Pereda on Fauna

    There’s a point in nearly every Nicolás Pereda film when the narrative is either reoriented or upended in some way. In the past this has occurred through bifurcations in story structure or via ruptures along a given film’s docufiction fault line. Pereda’s ninth feature, Fauna, extends this tradition, though its means of execution and conceptual ramifications represent something new for the 38-year-old Mexican-Canadian filmmaker. More →

  • I Lost It at the Movies: Charlie Kaufman’s Antkind and I’m Thinking of Ending Things

    “It’s all planned, but it isn’t thought out,” wrote Pauline Kael in her review of A Woman Under the Influence (1974), a nifty bit of critical jiu-jitsu turning John Cassavetes’ much-theorized—and, during Kael’s reign at The New Yorker, much-derided—technique of spontaneous improvisation within a dramatic framework against him. More →

  • Open Ticket: The Long, Strange Trip of Ulrike Ottinger

    One of the most surprising things about Ulrike Ottinger’s new documentary Paris Calligrammes is how accessible it is. Some cinephiles may be familiar with Ottinger based on an 11-year period of mostly fictional productions that were adjacent to the New German Cinema but, for various reasons, were never entirely subsumed within that rubric. Others are quite possibly more aware of her later work in documentary, in particular her commitment to a radical form of experimental ethnographic cinema. More →