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.
‘A lot of history timed out in 1973’, writes Gary McMahon in a piece that will teach you absolutely everything you never even suspected that you had to know about a most extraordinary year. Carole Bouquet made her film debut four years later in Luis Buñuel’s last masterpiece, That Obscure Object of Desire. Arnold Cusmariu applies star theory on an actress who has ‘developed over a 30-year film career a persona of great dramatic power and aesthetic appeal’. Julian Hanich looks at the history of ‘the farewell note motif’, a ‘melodramatic motif or standard scene [wherein] a character bids farewell to a partner or his loved ones via a storage medium that does not allow for direct telecommunication […] through a letter, left on an answering machine, recorded on a voice recorder or taped on a video camera.’ Tamas Nagypal explains why ‘Danny Boyle’s Slumdog Millionaire (2008) can be seen as the unofficial remake of his earlier Trainspotting (1996)’ both being films that ‘explore the consequences of gaining individual autonomy by cutting one’s ties to the organic community one was born into, becoming a free floating neo-liberal subject’. Also in this issue, Lotte Buiting on Nazism and guilt in West German 1959 anti-war classic The Bridge, as well as interviews and columns.
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