Dialogic Cinephilia - December 16, 2017

Alexander, Jonathan. "Other People’s Children, Part 2: Stories in the Aftermath, or The Hate U Give." Los Angeles Review of Books (December 8, 2017)

Ball, Patrick. "Violence in Blue: Police Homicides in the United States." Granta #34 (March4, 2016)

Brody, Richard. "The Best Movies of 2017." The New Yorker (December 8, 2017)

Burks, Raychelle and David Hart. "Murder on the Orient Express (1974) and Assumptions." Pop Culture Case Study #282 (November 9, 2017)

Clair, Jeffrey St. and Alexander Cockburn. "Operation Paperclip: NAZI Science Heads West." Counterpunch (December 8, 2017)

Duvall, Jamey, Mike White and Alex Winter. "The Tenant (1976)." The Projection Booth #344 (October 10, 2017) ["Adapted from a book by Roland Topor (Fantastic Planet), the film also stars Polanski as Trelkovsky, a man in need of a new apartment. He finds one where the previous occupant has defenestrated herself. After her death, he's able to move in and finds that his neighbors don't like him being noisy... in fact, they don't like him being him at all. Some put this alongside Polanski's Repulsion and Rosemary's Baby as his “apartment trilogy” in which explores the terrors of urban paranoia."]

Hadley, Josh, Moe Porne and Mike White. "Terrorvision (1986)." The Projection Booth #345 (October 19, 2017) ["... offbeat horror comedy TerrorVision (1986). Written and directed by Ted Nicolaou, the film centers on the Putterman Family who, while father Stan (Gerrit Graham) is installing a new satellite dish and accidentally receive a distant transmission of a horrific hungry monster which proceeds to feast on the family including wife Rachel (Mary Woronov), son Sherman (Chad Allen), grandpa (Bert Remsen), daughter Suzy (Diane Franklin), and her metal head boyfriend O.D. (Jon Gries)."]

Koski, Genevieve, Tasha Robinson and Scott Tobias. "Lady Bird / Ghost World (2001) - Part 1." The Next Picture Show #102 (November 14, 2017) ["Greta Gerwig’s fantastic directorial debut LADY BIRD is set in 2002, when its protagonist might have recognized a contemporary kindred spirit in Enid, the protagonist of Terry Zwigoff’s 2001 coming-of-age comedy GHOST WORLD: Both characters are creatively minded outcasts who are leaving high school and facing uncertainty about their futures. In this half of our pairing of the two films, we focus on the prickly and not-quite-lovable iconoclasts who populate GHOST WORLD, discussing its garish version of the turn of the millennium, how it translates Danial Clowes’ comic of the same name for movie screens, and whether it contains the best existential fart joke ever committed to film."]

---. "Lady Bird / Ghost World (2001) - Part 2." The Next Picture Show #103 (November 16, 2017) ["We return to the dawn of the millennium to discuss Greta Gerwig’s new solo directorial debut LADY BIRD, and how it echoes the sardonic coming-of-age comedy that characterizes Terry Zwigoff’s GHOST WORLD. After parsing our individual reactions to and readings of LADY BIRD, we look at how the two films compare in terms of their view of nostalgia and mainstream culture, as well as the respective family dynamics that affect each protagonist’s view of the world."]

Lynch, David. "David Lynch." Pinewood Dialogues (February 16, 1997) [""Jimmy Stewart on Mars" was how Mel Brooks, who produced The Elephant Man, described David Lynch. The collision between the quotidian and the dreamlike has been Lynch's key theme, from the suburban nightmares of Blue Velvet and Twin Peaks to the noir netherworlds of Lost Highway and Mulholland Drive. In this discussion, just before the 1997 release of Lost Highway, Lynch demonstrates his aversion to interpretation, preferring to let viewers take what they will from the mood and texture of his films. He reveals his method of working by instinct and embracing the role of chance in his creative process."]

Pilger, John. "Why the Documentary Must Not Be Allowed to Die." Counterpunch (December 12, 2017)






Richards, Jill. "The Impossibility of Children's Cinema: On Todd Hayne's Wonderstruck." Los Angeles Review of Books (December 8, 2017)