Film International covers film culture as part of the broader culture, history and economy of society. We address topics of contemporary relevance from historically informed perspectives. We wish to bridge the gap between the academy and the outside world, and encourage the participation of scholars from a variety of disciplines, as well as journalists, freelance writers, activists and film-makers.
‘Finally, in a mixture of horror and relish, my back arches, my shoulders hunch forward and my chest heaves as I retch once, twice, three times’: Laura Wilson ‘seek[s] to address that which is often avoided in audience and critical discourses, that is, how and why [The Human Centipede] and its bodily functions are upsetting.’
‘In the context of crime films featuring Italian-American gangsters the term “family” has become a synonym for “criminal gang”’ but ‘the Italian-American gangster’s relationship with family and gang has not been interpreted systematically as an indicator of the degree of this ethnic character’s assimilation into American society’: Silvia Dibeltulo analyses ‘key Hollywood films,’ ‘from the 1930s classic gangster cycle to contemporary cinema, with a focus on the intersection of family, gang and Italian ethnicity.’
Oscar A. Pérez proposes ‘a queer reading of three films that are representative of Nuevo Cine Mexicano: María Novaro’s Danzón (1991), Alfonso Cuarón’s Love in the Time of Hysteria (Sólo con tu pareja, 1991), and Guillermo del Toro’s Cronos (1993).
‘We were trying to show in a roundabout, metaphorical sense the murder of the youth in this country’: in a frank and free discussion scriptwriter Alex Radivojevic talks to Rajko Radovic about the perhaps most notorious film of the 21st century, A Serbian Film.
This and much more – including interviews with Godfrey Reggio and Tarkovsky specialist Nathan Dunne.
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