Kategori: In English

FEATURE. Like the different films that it comprises, Third Cinema is a relatively unknown concept – and often a misconceived one. From the radical films of Glauber Rocha, through the works of Senegalese director Ousmane Sembène, and the collective productions of Black Audio Film Collective, Third Cinema denotes an often radical type of cinema. Outspokenly independent and overtly regional, movies within Third Cinema may have only this in common: they emphasize the importance of de-marginalization and of strong national identities in an ever-changing global context. Nicola Marzano analyses this concept of Third Cinema, maintaining its relevance in today’s global film environment.

FEATURE. Whereas a quickening of pace is a major characteristic of the history of mass-market cinema, a slowing down of pace in niché-market cinema has developed alongside it – not merely as an oppositional practice but also as an aesthetic strategy in its own right. Discussing the work of filmmakers such as Tsai Ming-liang, Gus Van Sant and Albert Serra, Matthew Flanagan argues that one can detect a unique formal and structural design: an aesthetic of slow.

FEATURE. Film critics frequently relate After Hours (1985) and Miracle Mile (1989) to nightmares. But what is it about them that evokes an impression of the nightmarish? Drawing on cognitive studies of film, Katherine Spring first explains how the two films facilitate spectarial alignment and empathy before analyzing how their narrative designs elicit affective states that resemble those we experience in nightmares.