cinema-scope-issue-62This is the complete list of articles from the print magazine issue of Cinema Scope #62. 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.


INTERVIEWS

The-Forbidden-Room-Guy-Maddin

Lost in the Funhouse: A Conversation with Guy Maddin and Evan Johnson on The Forbidden Room and Other Stories by Mark Peranson

In the Bedroom: Rodney Ascher’s The Nightmare by Adam Nayman

Circumnavigating Cinema: Kidlat Tahimik’s Balikbayan #1 Memories of Overdevelopment Redux III by Adam Cook and Daniel Kasman

FEATURES

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A Perfect Game: Kevin Jerome Everson’s Park Lanes by Michael Sicinski

Blackhat, White Noise: Michael Mann’s System of Objects by Andrew Tracy

That Sinking Feeling: Seeing Things in Don’t Look Now by José Teodoro

Blind, With a Gun: The Irrepressible Anarchy of Jean-Patrick Manchette by Christoph Huber

Time Regained: The Cinema of Nils Malmros by Jordan Cronk

Dancing on the Edge: Derek Jarman’s Will You Dance With Me? by Max Nelson

Of Time and the River: Mapping the Cinema of Luo Li by Shelly Kraicer

The Funniest Joke in the World: On Rick Alverson’s Entertainment by Phil Coldiron

FESTIVALS

Sundance by Blake Williams

COLUMNS

adieu au langage

Editor’s Note: Top Ten Films of 2014

Film/Art: Les Photos d’Alix (Cléo Roubaud) by Andréa Picard

Global Discoveries on DVD by Jonathan Rosenbaum

DVD Bonus: Sauve qui peut (la vie) by Jerry White

Books: Criterion Designs by Sean Rogers

Exploded View: Kenneth Anger’s Puce Moment by Chuck Stephens

CURRENCY

it follows

It Follows by Jason Anderson

White God by Samuel La France

Wild Tales by Quintín

WEB EXTRA

Timbuktu 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 →