CineAction

An academic journal that examines film from a variety of viewpoints, with each issue focused on a central theme. Publishes scholarly articles on film theory, plus interviews with filmmakers, film reviews, book reviews, and reports from international film

Articles from No. 82-83, Winter

Black Christmas: The Slasher Film Was Made in Canada
Contrary to popular belief, John Carpenter's Halloween (1978) is not the first incarnation of the modern-day slasher film. That honour belongs to the small Canadian production Black Christmas (1974). This relatively unknown film is responsible for...
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Cannes Film Festival 2010
With no controversial entrees like last year's Antichrist or inglourious Basterds or (to my knowledge) critically-acclaimed debuts like Xavier Dolan's J'ai Tue Ma Mere, there seemed few if any 'must sees' at this year's Cannes Film Festival, making...
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Film Socialisme: Jean-Luc Godard and the Cinema
"Godard's career combines an unflagging resistance to the demands of the industry with a recurrent commitment to cinema as art, classic and yet personal." (1) Peter Wollen Film Socialisme (2010) is Godard's first theatrical release to be shot completely...
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Going Na'vi: Mastery in Avatar
I was saddened to notice the recent passing of Robin Wood, one of the driving forces behind twentieth century film criticism and of CineAction! Robin had been my teacher a few years ago, and during my graduate study we would occasionally meet for lunch....
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In Transit: Kelly Reichardt's Meek's Cutoff
Spoiler Alert: In the course of this paper I discuss the film's ending. I saw more films this year at the Toronto International Film Festival than I have been able to in past years and while there were lots that were notable, I wasn't captivated...
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James Whale's Frankensteins: Re-Animating the Great War
We feel as if something inside us, in our blood, has been switched on. That's not just a phrase--it is a fact. It is the front, that has made electrical contact ... We are dead men with no feelings, who are able by some trick, some dangerous magic,...
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Melies and Early Cinema(gic): Conjuring the Science-Fiction Film Genre
This article is a theoretical analysis of a particular niche in film studies. It examines the profound influence of early cinema on the development of the science-fiction genre by considering: the concept of spectatorship, the apparatus of exhibition,...
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Pop Star Is the Medium Is the Message: The Man Who Fell to Earth
In his 1963 novel The Man Who Fell to Earth Walter Tevis uses a genre of science fiction to tell an allegory about the visitor from outer space who in 1985 (1) falls on Earth to look at us and show us how alien or alike we may look to an extraterrestrial....
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Postmodern Anxieties: Renaissance: Paris 2054 as Tech-Noir
Contemporary filmmakers create art from within a postmodern era where "every text is an inter-text that borrows, knowingly or not, from the immense archive of previous culture". (1) In literary studies, Harold Bloom labels this awareness the "anxiety...
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Special Treatment/Sans Queue Ni Tete
Special Treatment/Sans queue ni tete is a sophisticated film about urban life that deserves more notice than it received at this year's TIFF. While the film isn't a comedy, it is imbued with a wry humour and a tone that is mature and aware. It offers...
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Television Discourse and Governmentality: Considering Da Vinci's Inquest and Da Vinci's City Hall as Citizen Projects
INTRODUCTION: The Da Vinci Series, Governmentality, and Political Economy The episode begins with a blurry shot of we do not know what. The shot slowly sharpens to reveal a close up of a woman's feet in high heel platform shoes. It is nighttime...
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The Festival, Politics and Space: Amigo and Route Irish
It was a pleasure to see new films from John Sayles and Ken Loach at this year's Festival. It was a chance to consider the distinguished careers of these tenacious left-wing directors. Their new films were not greeted with much attention or celebration;...
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What's So Funny about Class Struggle? Ideology in the Trotsky
There are at least two ways in which a text may be inscribed with ideology. One is by raising a non-problem to the level of a true problem. Racism, for example, displaces discontent with the system of economic exploitation onto the figure of the 'intruder'...
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