nota editoriale

TONI D'ANGELA / Questioni di metodo

 

confidential report

 

Roberto Rossellini, James Benning: space, ruins, and memory

 

CRISTÓBAL ADAM / El transcurso en el suspenso. James Benning y Roberto Rossellini

MAXIME RENAUDIN / Le regards de Pierre

TONI D'ANGELA / Spazio e Tempo in Agostino d’ Ippona 

DORIS PETERNEL / Le cinéma de Benning et la mémoire de la peinture

Summary of the Dossier (paper issue)

 

Joseph H. Lewis

 

ANDRE BALSO / Joseph H. Lewis, une vie de studio

MÓNICA M. MARINERO / My Name is Julia Ross

SUDARSHAN RAMANI / The Big Combo  

Celluloid Liberation Front / Terror in a Texas Town

Summary of the Dossier (paper issue)

 

 

prima linea

Adam Cook / Holy Motors (Leos Carax)

Sarah Ohana / Into the Abyss (Werner Herzog)

 

histoire(s) du cinéma

Paul Cuff / Abel Gance the primacy of the cinematic experience in theory and in practice

 

l'occhio che uccide

Therese Grisham / Subjectification and Complicity in Fassbinder's I Only Want You to Love Me

Julies Grossman / The “Fervor” and Framing of Bedelia: Gender Psychosis in Vera Caspary’s Novel and Film Noir

Patrizia Fantozzi / Potenza del Falso, sospensione del Vero. La Scena e il Mondo in Che cosa sono le nuvole? di Pier Paolo Pasolini

Carlos Losilla / Intervenciones#5. Ya no soy yo, me han descubierto

 

bersaglio di notte

Mónica Delgado / El "nepantla" de Fernanda Hussein (John Gianvito)

 

flaming creatures

Adrien Clerc / Dé-visage, défigure... A propos de Performance et des projections dans le cinéma d'Antony Balch et William Burroughs

 

critique de la séparation

Gregorio Martín Gutiérrez / Jean Vimenet: imágenes paraMouchette