Dialogic Cinephilia - April 15, 2018

Buckler, Dana and Jim Hemphill. "Icons: Oliver Stone." How is This Movie? (November 7, 2017)

Cassidy, Brendan and J.D. Duran. "Magnolia / Punch Drunk Love." InSession Film (January 2018)

Denton, Stacy. "After the Farm Crisis: The Critique of Neoliberal Society in What's Eating Gilbert Grape?" Film Criticism 42.1 (March 2018) ["Neoliberalism restructured both national and local economies, including rural areas in the Midwest that were simultaneously hard-hit by the 1980s Farm Crisis. The struggle for the people who inhabit these small communities, along with the opportunity to reimagine an alternative, sets the stage for Lasse Hallström's What's Eating Gilbert Grape?"]

Lady Vengeance (South Korea: Chan-Wook Park, 2005) Dialogic Cinephilia (Ongoing Archive)

Oldboy (South Korea: Chan-Wook Park, 2003) Dialogic Cinephilia (Ongoing Archive)

Raymond, Marc. "From Old Boys to Quiet Dreams: Mapping Korean Art Cinema Today." Film Criticism 42.1 (March 2018) ["This essay theorizes Korean art cinema today through an analysis of domestic festivals (especially Busan, Jeonju, and Bucheon), major festivals abroad (particularly Cannes, Berlin, and Toronto), and various other institutions in order to provide a comprehensive mapping of how art cinema within Korea currently operates. Using sociological theories of taste pioneered by Pierre Bourdieu, the paper shows how the dominant name auteurs of Korea, particularly Park Chan-wook and Lee Chang-dong, were established through international festivals, beginning in the 1990s but exploding in the 2000s, at the same time as Korean films began to compete with and surpass Hollywood films at the local box office. These filmmakers were shaped by the changing ideas of art cinema globally, as theorized by scholars such as David Andrews, and the dominance of these figures thus helped shape the domestic festivals, with younger Korean directors often following within these traditions. The rise of the domestic box office helped create an independent cinema within the country, not unlike the emergence of indie cinema in the United States during the blockbuster era, which had the consequence of both increasing opportunities for young directors while often pigeon-holing them into narrow niches."]

Smith, Victoria L. "The Heterotopias of Todd Haynes: Creating Space for Same Sex Desire in Carol." Film Criticism 42.1 (March 2018) ["Using Foucault’s concept of heterotopia (an “other space”), this essay contends space is key to understanding Haynes’s Carol. It examines how Haynes, through his meticulous attention to framings, textures, color, and spatial relations, creates a queer counter space, time, and look—a rejection of early 1950s social and sexual propriety."]

Vassilieva, Julia. "Russian Leviathan: Power, Landscape, Memory." Film Criticism 42.1 (March 2018) ["This article presents an analysis of the recent Russian cinematic sensation, Andrei Zvyagintsev's fourth feature, Leviathan (2014). While earlier discussions of the film have focused on its thematic concerns, often ignoring its style and privileging narrative over image, this article foregrounds the aesthetics of the film drawing on Jaques Rancière's recent discussion of the regimes of arts."]

Wolters, Eugene. "Who the Fuck is Jacques Ranciere?" Critical Theory (March 28, 2013)