1990
An Angel at My Table (New Zealand/Australia/UK/USA: Jane Campion, 1990: 158 mins)
Baughan, Nikki. "Where to Begin with Jane Campion." Sight and Sound (May 3, 2016)
Flores, Steven. "The Auteurs: Jane Campion." Cinema Axis (September 30, 2013)
Archangel (Canada: Guy Maddin, 1990: 90 mins)
Smalley, G. "Archangel (1990)." 366 Weird Movies (February 17, 2009)
Awakenings (USA: Penny Marshall, 1990: 121 mins)
Buckler, Dana. "Robin Williams Retrospective." How Is This Movie? (May 30, 2017)Cadillac Man (USA: Roger Donaldson, 1990: 97 mins)Buckler, Dana. "Robin Williams Retrospective." How Is This Movie? (May 30, 2017)Dances With Wolves (USA/UK: Kevin Costner, 1990: 181 mins)
Sutton, Douglas Allen. "Only the Wind Will Know. (Spring 2015 ENG 102 Essay)" Dialogic Cinephilia (March 23, 2015)
Days of Being Wild (Hong Kong: Wong Kar-Wai, 1990: 94 mins)
Flores, Steven. "The Auteurs: Wong Kar-Wai." Cinema Axis (January 5, 2014)
Die Hard 2 (USA: Renny Harlin, 1990: 124 mins)
Buckler, Dana. "The Die Hard Trilogy." How Is This Movie? (April 25, 2017)
Dreams (USA/Japan: Akira Kurosawa, 1990: 119 mins)
Cook, Adam. "Vincent Van Gogh In Cinema: A multilayered portrait emerges." Keyframe (May 22, 2016)
The Exorcist III (USA:William Friedkin, 1990: 110 mins)
El Goro. "Child's Play (1988) and The Exorcist III (1990)." Talk Without Rhythm (October 29, 2017)
Gremlins 2: The New Batch (USA: Joe Dante, 1990: 106 mins)
Dante, Joe, et al. "Gremlins." The Projection Booth #127 (106 mins)
Hardware (UK/USA: Richard Stanley, 1990: 94 mins)
El Goro. "Hardware (1990) and Dust Devil (1992)." Talk Without Rhythm #365 (April 11, 2017)
It (USA: ABC miniseries, 1990: 192 mins)
Home Alone (USA: Christopher Columbus, 1990: 103 mins)
El Goro. "Home Alone (1990) and Home Alone 2: Lost in New York (1992)." Talk Without Rhythm #398 (December 11, 2017)
D., Margo and Finnius Throckmorton. "Stephen King's It." Book vs Movie (June 24, 2016)Jacob's Ladder (USA: Adrian Lyne, 1990: 113 mins)
Eig, Jonathan. "A beautiful mind(fuck): Hollywood structures of identity." Jump Cut #46 (2003)
Kindergarten Cop (USA: Ivan Reitman, 1990: 111 mins)
Messner, Michael A. "The Masculinity of the Governator: Muscle and Compassion in American Politics." Cinematic Sociology: Social Life in Film. Los Angeles, CA: Sage, 2013: 135-148. [In BCTC Library PN1995.9 S6 C543 2013]
King of New York (Italy/USA/UK: Abel Ferrara, 1990: 103 mins)
Met, Philippe. "Abel Ferrara: Filming (on) the Wild Side (of New York)." Senses of Cinema (September 2013)
Life is Sweet (UK: Mike Leigh, 1990: 103 mins)
Fox, Neil and Dario Linares. "Social Realism?" The Cinematologists (September 21, 2017) ["The discussion covers Leigh's Life Is Sweet (1990) and Loach's Riff-Raff(1991), Raining Stones (1993) and Ladybird Ladybird (1994) - and the recent I, Daniel Blake (2016), which is not in the Loach set - asd well as getting into a more general chat about the spectre of social realism in British film history."]
Maniac Cop 2 (USA: William Lustiq, 1990: 90 mins)
"Maniac Cop 2." Junk Food Cinema (June 2, 2016)
The Match Factory Girl (Finland: Aki Kaurismaki, 1990: 69 mins)Miller's Crossing (USA: Joel Coen, 1990: 115 mins)
Beyl, Cameron. "The Coen Brothers [4.2]: The Postmodern Pictures." The Directors Series (June 14, 2016)
Orr, Christopher. "Miller's Crossing: An overdue love letter to the extraordinary meta gangster movie." The Atlantic (September 10, 2014)
Misery (USA: Rob Reiner, 1990: 107 mins)
"Misery and Self Control." Pop Culture Case Study #143 (June 2, 2016)
Pretty Woman (USA: Gary Marshall, 1990: 119 mins)Cleaver, Sarah Kathryn and Mary Wild. "Fashion Films Episode 6: Shopping for Meaning." Projections (April 19, 2019) ["This week Mary and Sarah delve further into fashion and fetish with two films about shopping and its connection to control; Alfred Hitchcock’s Vertigo (1958) and Pretty Woman (1990) directed by Gary Marshall."]
Pump Up the Volume (Canada/USA: Allan Moyle, 1990: 102 mins)
El Goro. "Over the Edge (1979) and Pump Up the Volume (1990)." Talk Without Rhythm #373 (June 11, 2017)
Moyle, Allan and Rob St. Mary. "Pump Up the Volume." The Projection Booth #259 (February 23, 2016) ["Allan Moyle's Pump Up the Volume, Christian Slater stars as Hard Harry, a pirate DJ who rants about life as a high school student and the injustices of the world."]
Quick Change (USA: Howard Franklin and Bill Murray, 1990: 89 mins)
Hynes, Eric. "Quick Change." The Cinephiliacs #77 (April 10, 2016)
Rosencrantz & Guildenstern are Dead (UK/USA: Tom Stoppard, 1990: 117 mins)
Stachiw, Chris and Sean Liang. "Rosencrantz and Guildenstern are Dead." Kulturecast (July 15, 2016)
To Sleep With Anger (USA: Charles Burnett, 1990: 102 mins)
"Charles Burnett, Pt. 2." Moving Image Source (January 8, 1995) ["The pioneering African-American director Charles Burnett was a film student at UCLA when he made Killer of Sheep (1977), a powerful independent film that combines blues-inspired lyricism and neo-realism in its drama of an inner-city slaughterhouse worker and his family. Killer of Sheep, now regarded as one of the best films of its era, was part of a small group of films that became known as "The L.A. Rebellion." During a retrospective of his films at the Museum of the Moving Image, he answered questions from the audience about To Sleep with Anger, his drama starring Danny Glover as a mysterious visitor from the South who stirs up a Los Angeles family."]
Charles Burnett Tribute | 2017 Governors Awards for the Academy of Motion Picture Arts & Sciences from Shola Lynch on Vimeo.
Teenage Mutant Ninja Turtles (USA/Hong Kong: Steve Barron, 1990: 93 mins)
Cargill, Robert C. and Brian Salisbury. Teenage Mutant Ninja Turtles. Junk Food Cinema (February 28, 2017)
Trust (UK/USA: Hal Hartley, 1990: 107 mins)
Hal Hartley Pinewood Dialogues (January 14, 1995) ["Hal Hartley's films are marked by spare, precise visuals, a stylized approach to dialogue that allows characters to speak their innermost thoughts, and an intuitive gift for playing with the conventions of movie-making and storytelling. Playing off the contrast between cerebral characters and quotidian settings, Hartley creates comedic inquiries into the nature of belonging and the search for personal freedom. In the role of writer, director, editor and composer, Hartley exerts control over films about characters for whom control is a fragile and elusive concept. This dialogue took place at a complete retrospective early in Hartley's career."]
Hancock, James and Marcus Pinn. "The Cinema of Hal Hartley." The Wrong Reel #149 (June 16, 2016)
Vincent and Theo (France/Netherlands/UK/Germany/Italy: Robert Altman, 1990: 138 mins)
Cook, Adam. "Vincent Van Gogh In Cinema: A multilayered portrait emerges." Keyframe (May 22, 2016)
White Hunter Black Heart (USA: Clint Eastwood, 1990: 112 mins)
Naremore, James. "Film Acting and the Arts of Imitation." Cyncos 27.2 (2011) ["Louise Brooks once said that in order to become a star, an actor needs to combine a natural-looking behavior with personal “eccentricity.” My presentation will explore some of the analytical problems raised by this phenomenon: What constitutes eccentricity and how is it balanced by naturalness in specific cases? What happens when a movie star acts in a film in which he or she impersonates the eccentricities of another star (Larry Parks as Al Jolson, Clint Eastwood as John Huston, Cate Blanchett as Bob Dylan, Meryl Streep as Julia Child, etc.)? How can we distinguish between impersonation as caricature and impersonation as dramatic illusion? What is the difference, if any, between impersonation and stylistic influence?"]Wild at Heart (USA: David Lynch, 1990: 125 mins)
Freeman, Sara. "The Creatures: Lynchian Women and Mulholland Drive." Keyframe (October 30, 2016)
Jennings, Tom. "David Lynch, Contemporary Cinema and Social Class (2000)." libcom (March 7, 2008)
1991
A Brief History of Time (UK/USA/France: Errol Morris, 1991: 80 mins)
Butler, Isaac. "Errol Morris on His Movie—and Long Friendship—With Stephen Hawking." Slate (March 16, 2018)
A Brighter Summer Day (Taiwan: Edward Yang, 1991: 237 mins)
Hurne, Mark, Cott Nye and Aaron West. "A Brighter Summer Day." Close-Up #44 (July 19, 2016) ["Among the most praised and sought-after titles in all contemporary film, this singular masterpiece of Taiwanese cinema, directed by Edward Yang, finally comes to home video in the United States. Set in the early sixties in Taiwan, A Brighter Summer Day is based on the true story of a crime that rocked the nation. A film of both sprawling scope and tender intimacy, this novelistic, patiently observed epic centers on the gradual, inexorable fall of a young teenager (Chen Chang, in his first role) from innocence to juvenile delinquency, and is set against a simmering backdrop of restless youth, rock and roll, and political turmoil."]
Daughters of the Dust (USA/UK: Julie Dash, 1991: 112 mins)
Adalat, Haroon. "Julie Dash's Daughters of the Dust Trailer: And let Beyoncé help you remember the ground it broke." Keyframe (September 4, 2016)
Dash, Julie. "Daughters of the Dust." Film School (April 14, 2017) ["Set in the legendary Sea Islands off the South Carolina/Georgia coast in 1902, Julie Dash’s DAUGHTERS OF THE DUST (1991) follows a Gullah family (descendants of West African slaves) on the eve of its migration to the North. Led by a group of women who carry with them ancient African traditions, the extended family readies itself to leave behind friends, loved ones and their insulated way of life. Can these women hold fast to their sacred religious beliefs and customs, or will their world be swept away in the course of a new century?This richly costumed drama, structured in tableaux to reflect the art and icons of African tradition, testifies movingly to the secret celebrations and packed-away sorrows of African-American women."]
Defending Your Life (USA: Albert Brooks, 1991: 112 mins)
D'Anna, Becky, James Hancock and Kevin Maher. "Albert Brooks and the Genius of an Open-Faced Sandwich." Wrong Reel #308 (August 2017)
Laczkowski, Jim, et al. "Albert Brooks." Director's Club #129 (June 5, 2017)Delicatessen (France: Marc Caro and Jean-Pierre Jeunet, 1991: 99 mins)
Merrick, Amy. "Living In: Delicatessen." Design Sponge (June 14, 2011)
The Devil's Daughter (Italy: Michele Soavi, 1991: 125 mins)
Kuersten, Erich. "The Shrouds of Soavi: Cemetery Man, The Devil's Daughter." Acidemic (September 8, 2016)
The Doors (USA: Oliver Stone, 1991: 140 mins)
Bursztynski, Maurice, Tim Merrill and Bernard Stickwell. "The Doors." See Hear #50 (March 20, 2018) ["It’s 1991. The Western world has been going through a 1960s music nostalgia revival over the previous decade and a very strong Doors revival in particular. It seemed like a good time for Oliver Stone to make a biopic about Jim Morrison. ... We discuss narcissism, historical accuracy versus dramatic license, bad poetry, Ed Sullivan, the perfect storm that was the musical stylings of Densmore, Kreiger and Manzarek, and the similarity between something Jim Morrison allegedly did in Florida with something GG Allin definitely did….discussed waaaaaayyyyy back in episode 1 of See Hear."]
The Fisher King (USA: Terry Gilliam, 1991: 137 mins)
Buckler, Dana. "Robin Williams Retrospective." How Is This Movie? (May 30, 2017)
Flores, Steven. "The Auteurs: Terry Gilliam." Cinema Axis (November 8, 2014)Freddy's Dead: The Final Nightmare (USA: Rachel Talalay, 1992: 89 mins)
Hancock, James and Mike Vanderbilt. "One, Two, Freddy's Coming for You." Wrong Reel #329 (October 2017)Hearts of Darkness: A Filmmaker's Apocalypse (USA: Fax Bahr, Ellen Coppola and George Hickenlooper, 1991: 96 mins)
Bahr, Fax, et al. "Apocalypse Now." The Projection Booth #274 (June 7, 2016)
High Heels (Spain/France: Pedro Almodovar, 1991: 112 mins)
Flores, Steven. "The Auteurs: Pedro Almodovar (Part 1)." Cinema Axis (September 29, 2014)
---. "The Auteurs: Pedro Almodovar (Part 2)." Cinema Axis (October 6, 2014)Hook (USA: Steven Spielberg, 1991: 142 mins)
Buckler, Dana. "Robin Williams Retrospective." How Is This Movie? (May 30, 2017)
Kafka (France/USA: Steven Soderbergh, 1991: 98 mins)
Flores, Steven. "The Auteurs: Steven Soderbergh (Part 1)." Cinema Axis (December 6, 2014)
---. "The Auteurs: Steven Soderbergh (Part 2)." Cinema Axis (December 7, 2014)The Last Boy Scout (USA: Tony Scott, 1991: 105 mins)
Cargill, C. Robert and Brian Salisbury. "The Last Boy Scout." Junk Food Cinema (May 19, 2016)
The Lovers on the Bridge (France: Leos Carax, 1991: 125 mins)
Flores, Steven. "The Auteurs: Leos Carax." Cinema Axis (August 19, 2014)
Night on Earth (France/UK/Germany/USA/Japan: Jim Jarmusch, 1991: 129 mins)
Flores, Steven. "The Auteurs: Jim Jarmusch." Cinemaxis (December 10, 2013)
Poison (USA: Todd Haynes, 1991: 85 mins)
Benyo, Crystina and Sic Ric. "Naked Lunch Radio #12 – Superstar! The Todd Haynes Story." Sound on Sight (December 8, 2008)
Hartman, Andy. "Structural/Sexual Transgression: Todd Haynes' Poison as a Critique of Homonormativity." Bright Lights Film Journal #82 (November 2013)
Prospero's Books (UK/Netherlands/France/Italy/Japan: Peter Greenaway, 1991: 124 mins)
Liz, Luiza. "Peter Greenaway and the Language of Film." (Posted on Youtube: July 25, 2016)
The Rapture (USA: Michael Tolkin, 1991: 100 mins)
Bradley, S.A. "Fear of God: Faith Based Horror." Hellbent for Horror #41 (May 18, 2017) ["Religion is a comfort to some, and a horror to others. Some very good horror movies focus on deeds done in the name of the Almighty. The characters in these movies hear voices, or have dreams, and they’re compelled to act in strange and horrible ways. Are they mad? Are they? These movies haunt you because there’s not an easy answer."]
Riff-Raff (UK: Ken Loach, 1991: 95 mins)
Fox, Neil and Dario Linares. "Social Realism?" The Cinematologists (September 21, 2017) ["The discussion covers Leigh's Life Is Sweet (1990) and Loach's Riff-Raff(1991), Raining Stones (1993) and Ladybird Ladybird (1994) - and the recent I, Daniel Blake (2016), which is not in the Loach set - asd well as getting into a more general chat about the spectre of social realism in British film history."]Slacker (USA: Richard Linklater, 1991: 97 mins)
"Kevin B. Lee (Slacker)." Cinephiliacs #12 (January 27, 2013)
Lee, Kevin B. "New Year’s Irresolutions and a Cinematic Cliff: Richard Linklater’s Slacker." Keyframe (January 4, 2013)
Star Trek VI: The Undiscovered Country (USA: Nicholas Meyer, 1991: 113 mins)
Green, Michael. "Glasnost in Space Revisited: Star Trek VI: The Undiscovered Country." Bright Lights Film Journal #76 (May 2012)
Terminator 2: Judgement Day (USA/France: James Cameron, 1991: 137 mins)
Messner, Michael A. "The Masculinity of the Governator: Muscle and Compassion in American Politics." Cinematic Sociology: Social Life in Film. Los Angeles, CA: Sage, 2013: 135-148. [In BCTC Library PN1995.9 S6 C543 2013]
Until the End of the World (Germany/France/Australia/USA: Wim Wenders, 1991: 158/260 mins)
Weisenberg, Sam. "At Five Hours, Wim Wenders Until the End of the World is a Dream Odyssey." Village Voice (September 3, 2015)
Van Gogh (France: Maurice Pialat, 1991: 158 mins)
Cook, Adam. "Vincent Van Gogh In Cinema: A multilayered portrait emerges." Keyframe (May 22, 2016)
1992
Aladdin (USA: Ron Clements and John Musker, 1992: 90 mins)
Buckler, Dana. "Robin Williams Retrospective." How Is This Movie? (May 30, 2017)A League of Their Own (USA: Penny Marshall, 1992: 128 mins)
Bonzel, Katharina. "A League of Their Own: The Impossibility of the Female Sports Hero." Screening the Past (October 2013)
Bad Lieutenant (USA: Abel Ferrara, 1992: 96 mins)
Met, Philippe. "Abel Ferrara: Filming (on) the Wild Side (of New York)." Senses of Cinema (September 2013)
Baraka (USA: Ron Fricke, 1992: 96 mins)
"Baraka (1992)." Philosophical Films (Ongoing Archive)
Basic Instinct (France/USA: Paul Verhoeven, 1992: 127 mins)
Kuersten Erich. "CinemArchetype #6: The Intimidating Nymph." Acidemic (March 2, 2012)
Bitter Moon (France/UK/USA: Roman Polanski, 1992: 139 mins)
Bradley, S.A. and James Hancock. "Enfant Terrible: Roman Polanski's Monsters." Hellbent for Horror #38 (April 19, 2917)
López, Cristina Álvarez and Adrian Martin. "Roman Polanski: Cinema of Invasion." ACMI (October 13, 2016)
Bob Roberts (USA: Tim Robbins, 1992: 102 mins)
Devens, Arik and Herb van der Poll. "Bob Roberts." Cinema Gadfly #22 (June 30, 2016)
McBride, Joseph. "Political Filmmaking and America's "Poisoned Chalice": The Banned Gore Vidal Interview." Bright Lights Film Journal #77 (August 2012)
Bram Stoker's Dracula (USA: Francis Ford Coppola, 1992: 128 mins)
Cameron, S. Brooke and Suyuin Olguin. "Consuming Appetites and the Modern Vampire." Revenant (Winter 2015): 79 - 101. ["When interviewed about his role as Van Helsing in Coppola’s Bram Stoker’s ‘Dracula,’ Anthony Hopkins pauses for a moment to ruminate on the iconic vampire’s Otherness as both a source of fear (‘he is the boogey man’ [2007]) as well as fascination and even libidinal attraction (‘there’s something very erotic about that’[2007]). That this ‘making of’ documentary was released fifteen years after the 1992 film is a testament to our persistent interest on Coppola’s film and, in particular, its idea that the vampire figure can teach us something about ourselves and our own deviant desires. Through this article, we have attempted to trace this fascination back to food and the fear of excessive consumption as outlined in Stoker’s original novel. The continued popularity of Stoker’s Dracula is heavily reliant on contemporary adaptations, even if they do not remain loyal to the original novel. As it was for Jonathan in Dracula’s castle, for Renfield in Brooks’s film, or for Sookie in Harris’s novel, the act of sharing or preparing a meal significantly influences one’s own place in society. The modern American vampire—just like his precursor, Dracula—continues to be marked as Other so long as he can not engage in the normative ritual of eating. The difference between the human and the vampire’s dietary choices was essential for the Victorians, and it has been a permanent link throughout the centuries, regardless of how close or how ‘domesticated’ vampires get."]
"How Francis Ford Coppola Breathed New Life into ‘Bram Stoker’s Dracula’." Cinephilia and Beyond (ND)
In Bernard Rose’s heavily reworked adaptation of Clive Barker’s short story ‘The Forbidden’, Tony Todd plays a hook-handed bogeyman – a 19th-century artist and son of a slave who feeds on fear and reawakens to murder the residents of the Cabrini-Green estate. Woe betide anyone who says the name of Candyman into the mirror. Shot on location in Chicago, this urban legend slasher explores its themes of race and class in America from an outsider’s perspective. When Virginia Madsen’s academic investigates the Candyman myth, past and present merge in nightmarish fashion. – Katherine McLaughlin
Englert, Angela. "From the Archives: What Becomes a Legend Most?" The Cultural Gutter (August 19, 2021)
Careful (Canada: Guy Maddin, 1992: 100 mins)
Asch, Mark. "Careful and House by the River: On Guy Maddin and Fritz Lang’s craftsmanship in the creation of fraught psychological states." Keyframe (January 4, 2013)
Klimkiw, Greg, Guy Maddin and Greg Toles. "Careful." The Projection Booth #103 (February 26, 2013)
Carlito's Way (USA: Brian De Palma, 1993: 144 mins)
Appen, Joe von and Erik McClanahan. "De Palma // Carlito's Way." Adjust Your Tracking (June 13, 2016)
Centre Stage (Hong Kong: Stanley Kwan, 1992: 126 mins)
Williams, Tony. "Centre Stage." Senses of Cinema #56 (2010)
Cool World (USA: Ralph Bakshi, 1992: 102 mins)
Davis, Adam. "Native images: the otherness and affectivity of the digital body." Jump Cut #55 (Fall 2013)
Dust Devil (South Africa/UK: Richard Stanley, 1992: 87 mins)
El Goro. "Hardware (1990) and Dust Devil (1992)." Talk Without Rhythm #365 (April 11, 2017)
Final Analysis (USA: Phil Joanou, 1992: 124 mins)
López, Cristina Álvarez. "Primal Analysis." Cine Transit (February 25, 2016)
Glengarry Glen Ross (USA: James Foley, 1992: 100 mins)
Dixon, Parker, James Hancock and Nick Stevens. "Mamet and Foley’s Classic, Glengarry Glen Ross." Wrong Reel #146 (June 12, 2016)
Morton, Drew. "The American Dream in Film: As the man said, ‘America’s not a country. It’s just a business.’" Keyframe (May 30, 2016)
Hellraiser III: Hell on Earth (Canada/USA: Anthony Hickox, 1992: 93 mins)
Hancock, James and Skye Wingfield. "Pain and Pleasure in Clive Barker's Hellraiser." Wrong Reel (January 2016)
Howards End (UK/Japan/USA: James Ivory, 1992: 140 mins)
Koresky, Michael, Violet Lucca and Farran Smith Nehme. "Merchant Ivory and Howards End." Film Comment (July 19, 2016) ["Though associated with heritage films set in Britain’s imperial past, producer Ismail Merchant, director James Ivory, and screenwriter Ruth Prawer Jhabvala have collaborated on a variety of masterfully constructed literary adaptations since the early 1960s. Perhaps the pinnacle of their collaboration is Howards End, their 1992 film based on the E. M. Forster novel about class and inheritance set in Edwardian England."]
Hyenas (Switzerland/France/UK/Senegal: Djibril Diop Mambéty, 1992: 110 mins)
Gaye, Layla. "Djibril Diop Mambéty’s Mesmerizing Anti-Neocolonial Masterpiece Hyenas." Notebook (April 26, 2019)
Last of the Mohicans (USA: Michael Mann, 1992: 112 mins)
"‘The Last of the Mohicans’: Michael Mann’s Riveting Love Story as the Formation of American Identity." Cinephilia & Beyond (ND)
The Long Day Closes (UK: Terence Davies, 1992: 85 mins)
Morrison, Benedict. "Inarticulate Lives: A Reading of the Opening of Terence Davies The Long Day Closes." Movie #8 (2019)
Wood, Jason. "Directors of the Year: Terence Davies." International Film Guide: 2012 ed. Ian Hadyn Smith.
Manufacturing Consent: Noam Chomsky and the Media (Canada: Mark Achbar and Peter Wintonick, 1992: 167 mins)
Chomsky, Noam. "On Education & How Manufacturing Consent Brought Attention to East Timor Massacres." Democracy Now (December 3, 2013)
Pandora's Box: A Fable From the Age of Science (United Kingdom: Adam Curtis, 1992: 276 mins)
Atkinson, Michael. "Archival Trouble: The fiction-free science fiction of Adam Curtis." Moving Image Source (February 16, 2012)
Romper Stomper (Australia: Geoffrey Wright, 1992: 94 mins)
Rivas, T.J. "Cinematic Responses to Fascism." Film History and Aesthetics Wiki (A Project of Film 110: Introduction to Film History and Aesthetics at Westminster College)
Simple Men (Italy/UK/USA: Hal Hartley, 1992: 105 mins)
Hal Hartley Pinewood Dialogues (January 14, 1995) ["Hal Hartley's films are marked by spare, precise visuals, a stylized approach to dialogue that allows characters to speak their innermost thoughts, and an intuitive gift for playing with the conventions of movie-making and storytelling. Playing off the contrast between cerebral characters and quotidian settings, Hartley creates comedic inquiries into the nature of belonging and the search for personal freedom. In the role of writer, director, editor and composer, Hartley exerts control over films about characters for whom control is a fragile and elusive concept. This dialogue took place at a complete retrospective early in Hartley's career."]
Hancock, James and Marcus Pinn. "The Cinema of Hal Hartley." The Wrong Reel #149 (June 16, 2016)
Swoon (USA: Tom Kalin, 1992: 93 mins)
The Unforgiven (USA: Clint Eastwood, 1992: 131 mins)
McGee, Patrick. From Shane to Kill Bill: Rethinking the Western. Malden, MA: Blackwell, 2007.[Professor has copy]
1993
Arizona Dream (USA: Emir Kusturica, 1993: 142 mins)
The Baby of Macon (Netherlands/France/UK/Germany: Peter Greenaway, 1992: 122 mins)
Bad Boy Bubby (Australia/Italy: Rolf de Heer, 1993: 114 mins)
"Bad Boy Bubby (1993)." 366 Weird Movies (April 4, 2012)
Body Snatchers (USA: Abel Ferrara, 1993: 87 mins)
Jenkins, Jamie, Mark Mcgee and Mike White. "Invasion of the Body Snatchers." The Projection Booth #130 (September 3, 2013) ["From the deep reaches of space the pods arrive, ready to take over the human race, erasing our humanity and turning us into walking vegetables. We're looking at the four versions of Invasion of the Body Snatchers (and a few other films)."]
Carlito's Way (USA: Brian DePalma, 1993: 144 mins)
Seitz, Matt Zoller. "Carlito's Way." Reverse Shot (November 26, 2006)
Cement Garden (France/Germany/UK: Andrew Birkin, 1993: 101 mins)
Hancock, James and Orest Ludwig. "Confronting Taboos Through the Films of Charlotte Gainsbourg." Wrong Reel #232 (February 2017)
Cronos (Mexico: Guillermo del Toro, 1993: 94 mins)
Heumann, Joseph and Robin Murray. "“As beautiful as a butterfly”?: Monstrous cockroach nature and the horror film." Jump Cut #56 (Winter 2014/2015)
Bursztynski, Maurice, Wendi Freeman and Tim Merrill. "Hated:GG Allin and The Murder Junkies." See Hear #1 (January 14, 2014) ["No gentle start for the team as they discuss the Todd Phillips documentary about notorious punk rock singer GG Allin. The film is not for the faint of heart (and our language may reflect the content discussed), but it is a fascinating look at a man who truly knew no boundaries in they way he lived his life. He is held in equal contempt and admiration by the public and ex-band members."]
Kika (Spain: Pedro Almodovar, 1993: 114 mins)
King of the Hill (USA: Steven Soderbergh, 1993: 103 mins)
Soderbergh, Steven. "On King of the Hill." The Current (February 26, 2014)
Mrs. Doubtfire (USA: Chris Columbus, 1993: 125 mins)
The Nightmare Before Christmas (USA: Henry Selick, 1993: 76 mins)
Ford, Ashley C. "The Nightmare Before Christmas." Movies That Changed Me (February 6, 2018) ["The Nightmare Before Christmas helped writer Ashley C. Ford accept life’s imperfections. As a kid, the movie taught her that it was okay to be different and to embrace the weird and the creepy."]
Oh, Woe is Me (France/Switzerland: Jean-Luc Godard, 1993: 95 mins)
Brody, Richard. "DVD of the Week: Oh, Woe is Me." The Front Row (May 31, 2011)
Raining Stones (UK: Ken Loach, 1993: 90 mins)
Rising Sun (USA: Philip Kaufman, 1993: 129 mins)
Insdorf, Annette. Cinematic Overtures: How to Read Opening Scenes. Columbia University Press, 2017. ["Your professor has a copy of this book."]
The Sandlot (USA: David Mickey Evans, 1993: 101 mins)
Goro, El. "Stand by Me (1986) and Sandlot (1993)." Talk Without Rhythm #375 (June 25, 2017)
Sankofa (USA/Ghana/Burkina Faso/UK/Germany: Haile Gerima, 1993: 125 mins)
Clark, Ashley. "Alien abductions: 12 Years a Slave and the past as science fiction." Sight and Sound (April 14, 2015)
The Secret Garden (USA: Agnieszka Holland, 1993: 101 mins)
Merrick, Amy. "Living In: The Secret Garden." Design Sponge (April 5, 2011)
Six Degrees of Separation (USA: Fred Schepisi, 1993: 112 mins)
Tolliver, Willie. "Postlude to a Kiss: Will Smith's Performances of Race and Sexuality in Fred Schepisi's Six Degrees of Separation." Bright Lights Film Journal #76 (May 2012)
Sonatine (Japan: Takeshi Kitano, 1993: 94 mins)
Fyfe, Stewart Heinz. "Impressions of Violence, Moments of Witness: Style in the Assassination Scenes of Takeshi Kitano’s Sonatine." 16:9 (February 2006)
True Romance (USA/France: Tony Scott, 1993: 120 mins)
Cargill, Robert C and Brian Salisbury. "True Romance." Junk Food Cinema (February 19, 2017)
The War Room (USA: Chris Hegedus and D.A. Pennebaker, 1993: 96 mins)
Enright, Keith and Aaron West. "The War Room and Politics in Film." Criterion Close-Up #39 (May 31, 2016) ["Aaron is joined by Keith Enright for a discussion of politics, new and old, through the lens of The War Room (1993), the behind-the scenes 1992 Clinton campaign documentary. We go into depth about the backroom politics and how those are what defines the campaign, but are usually far from the public eye. We contrast the politics of today and yesterday by looking the current affairs and Robert Drew’s Primary."]
The Wedding Banquet (Taiwan/USA: Ang Lee, 1993: 106 mins)
Lee, Kevin B. "Hope for Film: Lessons from Ang Lee’s Career." Keyframe (June 1, 2014)
What's Eating Gilbert Grape (USA: Lasse Hallström, 1993: 118 mins)
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?"]
Wittgenstein (Japan/UK: Derek Jarman, 1993: 75 mins)
Cashell, Kieran Anthony. "Charm and Strangeness: The Aesthetic and Epistemic Dimensions of Derek Jarman’s Wittgenstein." Film-Philosophy 16.1 (2012)
Falzon, Christopher. "Philosophy Through Film." Internet Encyclopedia of Philosophy (August 12, 2013)
1994
71 Fragments of a Chronology of a Chance. (Austria: Michael Haneke, 1994: 100 mins)
Frey, Mattias. "Great Directors: Michael Haneke." Senses of Cinema #57 (2010)
Amateur (USA/UK/France: Hal Hartley, 1994: 105 mins)
Hal Hartley Pinewood Dialogues (January 14, 1995) ["Hal Hartley's films are marked by spare, precise visuals, a stylized approach to dialogue that allows characters to speak their innermost thoughts, and an intuitive gift for playing with the conventions of movie-making and storytelling. Playing off the contrast between cerebral characters and quotidian settings, Hartley creates comedic inquiries into the nature of belonging and the search for personal freedom. In the role of writer, director, editor and composer, Hartley exerts control over films about characters for whom control is a fragile and elusive concept. This dialogue took place at a complete retrospective early in Hartley's career."]
Hancock, James and Marcus Pinn. "The Cinema of Hal Hartley." The Wrong Reel #149 (June 16, 2016)
Anjaam (India: Rahul Rawail, 1994: 170 mins)
Erndl, Kathleen M. "Woman Becomes Goddess in Bollywood: Justice, Violence, and the Feminine in Popular Hindi Film." Journal of Religion & Film 17.2 (October 2013)
Ashes of Time (Hong Kong/Taiwan: Wong Kar-Wai, 1994: 100 mins)
Flores, Steven. "The Auteurs: Wong Kar-Wai." Cinema Axis (January 5, 2014)
Barcelona (USA: Whit Stillman, 1994: 101 mins)
Hurne, Mark and Aaron West. "Barcelona and Whit Stillman." Criterion Close-Up #41 (June 21, 2016)
Crooklyn (USA: Spike Lee, 1994: 115 mins)
Murphy, Mekado. "How Spike Lee Created Three Signature Visual Shots." The New York Times (August 2, 2018)
Crumb (USA: Terry Zwigoff, 1994: 119 mins)
"Terry Swigoff's Crumb." The Criterion Cast #122 (May 7, 2012)
Exotica (Canada: Atom Egoyan, 1994: 103 mins)
Digging Deeper. "Exotica: Finding a Paradise Lost." (Posted on Youtube: November 30, 2015)
Egoyan, Atom. "Voyeurism, Memory, Obsession, and Intimacy." Moving Image Source (March 12, 1995)
Four Weddings and a Funeral (UK: Mike Newell, 1994: 117 mins)
Walters, James. "Moments Apart." Movie #8 (2019)
The Glass Shield (France/USA: Charles Burnett, 1994: 109 mins)
Heavenly Creatures (New Zealand/Germany: Peter Jackson, 1994: 99 mins)
Frank, Alison. "Heavenly Creatures." Electric Sheep Magazine (September 13, 2011)
The Hudsucker Proxy (USA: Joel Coen and Ethan Coen, 1994: 111 mins)
Beyl, Cameron. "The Coen Brothers [4.2]: The Postmodern Pictures." The Directors Series (June 14, 2016)
In the Mouth of Madness (USA: John Carpenter, 1994: 95 mins)
Ladybird Ladybird (UK: Ken Loach, 1994: 101 mins)
The Lion King (USA: Roger Allers and Rob Minkoff, 1994: 89 mins)
Kuersten, Erich. "CinemArchetype #7: The Shadow." Acidemic (March 8, 2012)
Mary Shelley's Frankenstein (USA/Japan/UK: Kenneth Branagh, 1994: 123 mins)
D., Margo and Margo P. "Mary Shelley's Frankenstein." Book vs Movie (October 15, 2017) ["The Margos take on the wildest adaptation of the show’s history with the sublime Frankenstein compared to the frankly ridiculous Kenneth Branagh 1994 film. The Margos get very gothic and silly sometimes trying to wrap their heads around Mary Shelley’s venerated classic novel with Henry V director Kenneth Branagh’s wildly acted and directed film. How crazy is this adaptation? How about a dance sequence between a zombie Helena Bonham Carter and Robert De Niro as “the monster?” This film is completely cray-cray but the backstory of Mary Wollstonecraft Shelley is one of the greatest tales of 19th Century literature and we definitely dive into her fascinating life story. Plus, all of the machinations that led to the publishing of her book in 1818 and the revisions in the 1831 version."]
Maybe, Maybe Not (Germany: Sönke Wortmann, 1994: 93 mins)
Brockmann, Stephen. "Der bewegte Mann (1994) or West German Self-Absorption." A Critical History of German Film Rochester, NY: Camden House, 2010: 436-445. [Professor has copy of the book]
Mrs. Parker and the Vicious Circle (USA/Canada: Alan Rudolph, 1994: 125 mins)
Leigh, Jennifer Jason. "Mrs. Parker and the Vicious Circle." Pinewood Dialogues (November 23, 1994) ["Jennifer Jason Leigh is remarkable for her chameleon-like ability to transform herself, physically and psychologically, for each of her roles. Her ability to inhabit her characters comes from an intensive process of preparation and research, and from a fearlessness that allows her to abandon her reflective personality and become another person onscreen. Leigh has consistently sought out risky, interesting roles, working for such directors as Robert Altman, David Cronenberg, and Alan Rudolph. She spoke at the Museum on the day she received rave reviews for her dazzling portrayal of Dorothy Parker in Mrs. Parker and the Vicious Circle."]
Spanking the Monkey (USA: David O. Russell, 1994: 100 mins)
Johnson, Mackenzie. "What Makes David O. Russell so David O. Russell." Film Stage (October 17, 2016)
Speed (USA: Jan de Bont, 1994: 116 mins)
Hart, David and David Shreve. "Speed and Entitlement." Pop Culture Case Study #209 (February 9, 2017)
Sobchack, Vivian. "What My Fingers Knew: The Cinesthetic Subject, or Vision in the Flesh." Senses of Cinema (April 2000)
Super 8 1/2 (Canada/Germany/USA: Bruce La Bruce, 1994: 99 mins)
Tafoya, Scout. "The Post-Punk Cinema Manifesto." Keyframe (September 10, 2015)
To Die For (USA/UK/Canada: Gus van Sant, 1994: 106 mins)
"To Die For and Self Preservation." Pop Culture Case Study #263 (106 mins)
True Lies (USA: James Cameron, 1994: 141 mins)
Buckler, Dana. "True Lies (1994)." How Is This Movie? (June 26, 2017)
Wild Reeds (France: André Téchiné, 1994: 110 mins)
Cone, Stephen. "A Constant Becoming." The Current (September 4, 2019) [On André Téchiné’s 1994 film Wild Reeds.]
1995
Babe (Australia/USA: Chris Noonan, 1995: 91 mins)
Guerard, Emma, et al. "Babe: That'll Do Comrade, That'll Do." Flixwise #24 (July 19, 2016)
Bert: The Last Virgin (Sweden: Tomas Alfredson, 1995: 100 mins)
Rehlin, Gunnar. "Directors of the Year: Tomas Alfredson." International Film Guide: 2012. 48th Edition. [BCTC Library: PN 1993.3 I544 2012]
The Brady Bunch Movie (USA: Betty Thomas, 1995: 90 mins)
The Bridges of Madison County (USA: Clint Eastwood, 1995: 135 mins)
Barton-Fumo, Margaret. "Location, Location, Location." Film Comment Podcast (July 18, 2017) ["Plenty of films open with an establishing shot of a city’s iconic skyline, or of a few iconic barns, only to go on and use the location as an anonymous backdrop. But few and far between are films that actually use the specificity that comes from location shooting to express something about the city’s history, the characters, and the story itself. The cover story of our July/August issue is the Safdie Brothers’ Good Time—a New York film through and through—and in the same issue’s Art and Craft column, we asked veteran location manager Ken Lavet to reflect on the art of scouting for Steven Soderbergh and other filmmakers. “It always starts with the story—whether it’s in a beat sheet form or a script or a treatment of some kind,” Lavet writes. “Hopefully I get some description from the screenwriter—of, say, a house, or an apartment building, or an office. And I start looking with that in mind.”"]
The Celluloid Closet (France/UK/USA/Germany: Rob Epstein and Jeffrey Friedman, 1995: 102 mins)
Hudson, David. "Sex in the Movies." Green Cine (2005)
Deconstructing Harry (USA: Woody Allen, 1997: 96 mins)
D'anna, Becky, James Hancock and Jacob Rivera. "Woody." Wrong Reel #205 (November 2016) ["Wide ranging discussion of his comedies prefaced by some clear analysis of his personal controversies"]
The Eel (Japan: Shohei Imamura, 1997: 117 mins)
Event Horizon (UK/USA: Paul W. S. Anderson, 1997: 96 mins)
Subissata, Andrea and Alexander West. "Stardust: Event Horizon (1997) and Sunshine (2007)." Faculty of Horror #61 (April 26, 2018) ["Andrea and Alex reach for the heavens and find the furthest reaches of hell with two films about space exploration and the darkness therein. Event Horizon and Sunshine explore the different reasons humankind would dare try to conquer space and the horrors that might await us there."]
Fast, Cheap & Out of Control (USA: Errol Morris, 1997: 80 mins)
Ayers, Drew R. "Vernacular Posthumanism: Visual Culture and Material Imagination." Department of Communication Dissertation, Georgia State University, 2012.
The Game (USA: David Fincher, 1997: 129 mins)
Szhou, Tony. "David Fincher - And the Other Way is Wrong." Every Frame a Painting (October 1, 2014)
Happy Together (Hong Kong/Japan/South Korea: Wong Kar Wai, 1997: 96 mins)
Flores, Steven. "The Auteurs: Wong Kar-Wai." Cinema Axis (January 5, 2014)
Guo, Caroline. ""We lost our way": The time and space of alienation in Wong Kar-wai’s Happy Together." Jump Cut #55 (Fall 2013)
Henry Fool (USA: Hal Hartley, 1997: 137 mins)
Hancock, James and Marcus Pinn. "The Cinema of Hal Hartley." The Wrong Reel #149 (June 16, 2016)
The Ice Storm (USA: Ang Lee, 1997: 112 mins)
Eggert, Brian. "The Ice Storm (1997)." Deep Focus Review (November 21, 2017)
Jackie Brown (USA: Quentin Tarantino, 1997: 154 mins)
Amos, Steve, James Hancock, and Skye Wingfield. "25 Years of Quentin Tarantino." Wrong Reel #320 (September 2017)
Lee, Kevin B. "The Tarantino Death Toll: What’s behind Quentin Tarantino’s obsession with killing?" Keyframe (December 16, 2015)
L.A. Confidential (USA: Curtis Hanson, 1997: 138 mins)
"L.A. Confidential/The Nice Guys (Part 1)." The Next Picture Show #29 (May 31, 2016)
Leila (Iran: Dariush Mehrjui, 1997: 102 mins)
Hassania, Tina, Calum Marsh and Amir Soltani. "Reception of Iranian Cinema, with a Focus on Leila." Hello Cinema (April 24, 2014)
Life is Beautiful (Italy: Roberto Benigni, 1997: 116 mins)
"Service Guarantees Citizenship [with Kino Lefter]." Hammer & Camera #26 (February 1, 2020) ["Fascism... What is it? And more importantly, is it in movies? The answers to these questions and many more can be found in our twenty-sixth episode, which features Abdul, Laura, and Evan from the Kino Lefter podcast. We talk Life is Beautiful, JoJo Rabbit, Dragged Across Concrete, and Starship Troopers as representations and depictions of fascist movements, and inquire about their function and the responsibilities of the artist."]
Live Flesh (Spain: Pedro Almodovar, 1997: 103 mins)
Made in Hong Kong (Hong Kong: Fruit Chan, 1997: 109 mins)
T., Susanna. "No Future! No Future!: Fruit Chan Speaks About Made in Hong Kong." Metrograph (March 4, 2020)
Men With Guns (USA: John Sayles, 1997: 127 mins)
Spector, Lincoln. "John Sayles: Three to See." Keyframe (May 10, 2016)
Mimic (USA: Guillermo del Toro, 1997: 105 mins)
Heumann, Joseph and Robin Murray. "“As beautiful as a butterfly”?: Monstrous cockroach nature and the horror film." Jump Cut #56 (Winter 2014/2015)
My Best Friend's Wedding (USA: P.J. Hogan, 1997: 105 mins)
Bromley, Patrick and Margo Donohue. "My Best Friend's Wedding." F This Movie #371 (February 1, 2017)
Landekic, Lola. "My Best Friend's Wedding (1997)." The Art of the Title (August 16, 2016)
Open Your Eyes (Spain/France, Italy: Alejandro Amenábar, 1997: 117 mins)
Mooney, James. "Epistemology: Dreams and Demons -- Abre los ojos (Open your eyes)." Film and Philosophy (September 9, 2011)
Ossos (Portugal/France/Denmark: Pedro Costa, 1997: 94 mins)
McNeil, Jeremiah, et al. "Pedro Costa in Fontainhas (1997-2014)." Illusion Travels by Streetcar #93 (February 25, 2016)
Perfect Blue (Japan: Satoshi Kon, 1997: 81 mins)
Princess Mononoke (Japan: Hayao Miyasaki, 1997: 134 mins)
Jimenez, Simon. "The Labor of Creativity: Celebrating Hayao Miyazaki’s Princess Mononoke." Tor (August 28, 2020) ["And indeed one sees the world by his side, and not, as is the traditional POV, “through his eyes”, for this point speaks to one of Miyazaki’s hallmarks as an artist: his framing of his characters as living within a world greater than themselves. In his films, and Princess Mononoke especially, whose themes demand such attention, the natural background is as “foregrounded” as the characters that walk through it. Close ups are used sparingly. The stars of the show are the exquisite paintings of ancient forests and roiling rivers and rocks with texture and weight that imply the history of erosion and tectonic uplift. Wooden beams bound in loops of rope and which compose the uneven ladders that stretch up to precarious watchtowers that are built to such believable schematics. Drawings of such detail, we understood intuitively, on sight, that this world is real, and populated by people of history, and objects of context. It is context that gives his work power. A person is as much defined by their actions as they are by the society they live in, and the geographic plane they travel through, or harvest."]
The River (Taiwan: Tsai Ming-liang, 1997: 115 mins)
Brailsford, Zachary Phillip, et al. "Tsai Ming-liang." Syndromes and a Cinema (August 28, 2011)
Rosewood (USA: John Singleton, 1997: 140 mins)
Guerrero, Ed. "The Spectacle of Black Violence as Cinema." Cinematic Sociology: Social Life in Film. Los Angeles, CA: Sage, 2013: 89-103. [In BCTC Library PN1995.9 S6 C543 2013]
Rossini (Germany: Helmut Dietl, 1997: 114 mins)
Brockmann, Stephen. "Rossini (1997) or West German Self-Absorption Criticized." A Critical History of German Film Rochester, NY: Camden House, 2010: 446-455. [Professor has copy of the book]
South Park (Comedy Channel: Trey Parker, Matt Stone and Brian Graden, 1997 - )
Spice World (UK: Bob Spiers, 1997: 93 mins)
Cargill, Robert C. and Brian Salisbury. "Spice World." Junk Food Cinema (November 8, 2015) ["Brian & Cargill tell you why you want why you really really want to revisit Spice World. No, we’re not kidding. The guys’ two minds become one as they explain the exceptional satire of this bugnuts vehicle for Britain’s premier girl group of the late 90s. They touch upon the self-effacing humor, the cavalcade of cameos, and why Spice World at least belongs in the same conversation as Purple Rain and A Hard Day’s Night."]
Starship Troopers (USA: Paul Verhoeven, 1997: 129 mins)
"Service Guarantees Citizenship [with Kino Lefter]." Hammer & Camera #26 (February 1, 2020) ["Fascism... What is it? And more importantly, is it in movies? The answers to these questions and many more can be found in our twenty-sixth episode, which features Abdul, Laura, and Evan from the Kino Lefter podcast. We talk Life is Beautiful, JoJo Rabbit, Dragged Across Concrete, and Starship Troopers as representations and depictions of fascist movements, and inquire about their function and the responsibilities of the artist."]
The Tango Lesson (UK/France/Argentina/Germany/Netherlands: Sally Potter, 1997: 100 mins)
Mayer, Sophie. "Where We Are Is Here: On the Influence of Female Filmmakers." Another Gaze (March 14, 2016)
Taste of Cherry (Iran/France: Abbas Kiarostami, 1997: 95 mins)
Robinson, Matty, et al. "Abbas Kiarostami: The Filmspotting Reviews." Filmspotting (July 20, 2016)
Wag the Dog (USA: Barry Levinson, 1997: 97 mins)
Kuersten, Erich. "Quilty Makes This World: 12 Tricksters (CinemArchetype #1)." Acidemic (January 23, 2012)
1998
After Life (Japan: Hirokazu Koreeda, 1998: 118 mins)
Kogonada. "The world according to Koreeda: How Japan’s modern master revives our taste for everyday life." Sight and Sound (January 9, 2014)
American History X (USA: Tony Kaye, 1998: 119 mins)
McFarland, Carey. "American History X (1998)." Philosophical Films (ND)
Rivas, T.J. "Cinematic Responses to Fascism." Film History and Aesthetics Wiki (A Project of Film 110: Introduction to Film History and Aesthetics at Westminster College)
Armaggedon (USA: Michael Bay, 1998: 151 mins)
Blakeslee, David, Ryan Gallagher and James McCormick. "Michael Bay's Armaggedon." Criterion Cast #172 (June 4, 2016)
Beloved (USA: Jonathan Demme, 1998: 172 mins)
Cone, Stephen, et al. "This American Life - Remembering Jonathan Demme." The Cinephiliacs (May 4, 2017) ["Jonathan Demme began his film career 50 years ago while working for Joseph Levine's production company in 1967, carving a path that resembled no other director in American film. His narrative films ranged from the grindhouse to Oscar prestige pictures to indies and more. Beyond fiction, he made documentaries about musicians and politics, music videos for the coolest bands, and a number of television episodes that gave life to the so-called writer's medium. While the word humanist gets thrown around carelessly, Demme deserved that term for the worlds his films enveloped and the generosity he showed each and every character while often creating an implied utopian vision of diversity. This special episode mourns the death of one of the great directors, as Peter invites on Jake Mulligan and Willow Maclay to discuss the multifaceted career of a director destined to cement a place in the canon. Plus, we revisit that oft-discussed director with three Double Exposure discussions with former guests."]
The Brandon Teena Story (USA: Susan Muska and Gréta Olafsdóttir, 1998: 89 mins)
Fairyington, Stephanie. "Two Decades After Brandon Teena's Murder, a Look Back at Falls City: Eager to come to terms with his department's tragic mishandling of the rape that led to the murder on New Year's Eve in 1993, a small-town sheriff welcomes LGBT-sensitivity training." The Atlantic (December 31, 2013)
The City (La Ciudad) (USA: David Riker, 1998: 88 mins)
Dark City (Australia/USA: Alex Proyas, 1998: 100 mins)
Tafoya, Scout. "The Post-Punk Cinema Manifesto." Keyframe (September 10, 2015)
Eternity and a Day (Greece/France/Germany/Italy: Theodoros Angelopoulos, 1998: 137 mins)
Horton, Andrew. "The Greek and Balkan Spirit of Comedy During the Journeys with the Films of Theo Angelopoulos." Greek Cinema and Films About Greece (2012)
Ever After: A Cinderella Story (USA: Andy Tennant, 1998: 121 mins)
Coffin, Lesley. "Despite Its Flaws, Ever After Holds Up As A Magical Cinderella Story." The Mary Sue (March 16, 2015)
Following (UK: Christopher Nolan, 1998: 69 mins)
Beyl, Cameron. "Christopher Nolan [5.1] – The Non-Linear Neo-Noirs." The Director Series (February 13, 2017)
He Got Game (USA: Spike Lee, 1998: 136 mins)
Swinney, Jacob T. "12 Essential Women Cinematographers." Keyframe (August 10, 2016)
The Hole (Taiwan/France: Tsai Ming-liang, 1998: 95 mins)
Brailsford, Zachary Phillip, et al. "Tsai Ming-liang." Syndromes and a Cinema (August 28, 2011)
I Stand Alone (France: Gaspar Noé, 1998: 93 mins)
Morgan, Kim. "You Have 30 Seconds to Leave the Theater" - Gaspar Noe's I Stand Alone." International Film Studies #6 (2010)
The Last Days of Disco (USA: Whit Stillman, 1998: 113 mins)
Smith, Justine, et al. "Spotlight + Interview – Director Whit Stillman (‘Damsels In Distress,’ ‘The Last Days of Disco’)." Sound on Sight #319 (May 3, 2012)
Lick the Star (USA: Sofia Coppola, 1998: 14 mins)
Spencer, Michelle. "Three Visual Patterns in Sofia Coppola's Films." A Place for Film (June 1, 2017)
Megacities (Austria/Switzerland: Michael Glawogger, 1998: 90 mins)
Möller, Olaf. "The World Viewed, Part 1: The globe-spanning, category-defying works of Michael Glawogger." Moving Image Source (April 17, 2012)
---. "The World Viewed, Part 2: The globe-spanning, category-defying works of Michael Glawogger." Moving Image Source (April 18, 2012)
Primary Colors (UK/France/Germany/Japan/USA: Mike Nichols, 1998: 143 mins)
"Primary Colors (1998)." The Dana Buckler Show (November 13, 2018)
Psycho (USA: Gus van Sant, 1998: 105 mins)
Soderbergh, Steven. "Psychos." Extension 765 (Mashup of the two version of Psycho: February 24, 2014)
Run Lola Run (Germany: Tom Tykwer, 1998: 80 mins)
Pi (USA: Darren Aronofsky, 1998: 84 mins)
"Darren Aronofsky." Director's Club #127 (April 7, 2017)
Ravenous (UK/Mexico/USA/Czech Republic: Antonia Bird, 1999: 101 mins)
Subisatti, Andrea and Alexandra West. "Man Eater: Ravenous (1999)." Faculty of Horror #70 (February 25, 2019) ["Andrea and Alex head West to explore the notions of Manifest Destiny and the Frontier Myth in Antonia Bird’s Ravenous. Combining historical context through a modern gaze, Ravenous proves you are who you eat."]
Romance (France: Catherine Breillat, 1999: 84 mins)
Hudson, David. "Sex in the Movies." Green Cine (2005)
The Sopranos (USA: David Chase, TV Series 1999-2007)
Gamman, Lorraine. "If Looks Could Kill: On gangster suits and silhouettes." Moving Image Source (May 8, 2012)
Sakharov, Alik. "The Sopranos - Pt. 1." and "The Sopranos - Pt. 2." American Cinematographer (No Date)
Star Wars: The Phantom Menace (USA: George Lucas, 1999: 136 mins)
Pride, Ray. "Review Flashback: Star Wars: Episode I – The Phantom Menace." New City Film (December 14, 2015)
Summer of Sam (USA: Spike Lee, 1999: 142 mins)
Flory, Dan. "The Epistemology of Race and Black American Film Noir: Summer of Sam as Lynching Parable." Film and Knowledge ed. Kevin L. Stoehr. Mcfarland, 2002: 174-190.
The Talented Mr. Ripley (USA: Anthony Minghella, 1999: 139 mins)
Koski, Genevieve, et al. "Call Me By Your Name / The Talented Mr. Ripley (1999), Part 1." The Next Picture Show #108 (December 26, 2017) ["The new CALL ME BY YOUR NAME’s gorgeous invocation of Italian summers and repressed desire brought to mind an earlier film that does the same, though to much darker ends: Anthony Minghella’s 1999 film THE TALENTED MR. RIPLEY, starring top-of-their-games Matt Damon, Jude Law, Philip Seymour Hoffman, and Gwyneth Paltrow. In this half of the discussion, we dig into what all three of those actors bring to their respective roles, as well as the additions Minghella brings to his adaptation of Patricia Highsmith’s novel — including a pivotal character created for the film — and how he manages the film’s tricky tone. "]
---. "Call Me By Your Name / The Talented Mr. Ripley (1999), Part 2." The Next Picture Show #109 (December 28, 2017) ["We return to the consideration of pleasure and heartbreak under the Italian sun via Luca Guadagnino’s sensual new romance CALL ME BY YOUR NAME, a film with a very different narrative than THE TALENTED MR. RIPLEY that nonetheless shares some of its major characteristics. After sharing our reactions to CMBYN, we dive into a discussion of what the two films share, and don’t, in their portrayals of life in (and a little bit out of) the closet, their approach to the Italian/American cultural divide, and their use of music as an emotional and thematic underpinning."]
Three Kings (USA/Australia: David O. Russell, 1999: 114 mins)
Johnson, Mackenzie. "What Makes David O. Russell so David O. Russell." Film Stage (October 17, 2016)
Kitaeff, Lila. "Three Kings: neocolonial Arab representation." Jump Cut #46 (2003)
The Woman Chaser (USA: Robinson Devor, 1999: 90 mins)
"The Woman Chaser." The Projection Booth #38 (November 23, 2011)
Careful (Canada: Guy Maddin, 1992: 100 mins)
Asch, Mark. "Careful and House by the River: On Guy Maddin and Fritz Lang’s craftsmanship in the creation of fraught psychological states." Keyframe (January 4, 2013)
Klimkiw, Greg, Guy Maddin and Greg Toles. "Careful." The Projection Booth #103 (February 26, 2013)
Carlito's Way (USA: Brian De Palma, 1993: 144 mins)
Appen, Joe von and Erik McClanahan. "De Palma // Carlito's Way." Adjust Your Tracking (June 13, 2016)
Centre Stage (Hong Kong: Stanley Kwan, 1992: 126 mins)
Williams, Tony. "Centre Stage." Senses of Cinema #56 (2010)
Cool World (USA: Ralph Bakshi, 1992: 102 mins)
Davis, Adam. "Native images: the otherness and affectivity of the digital body." Jump Cut #55 (Fall 2013)
Dust Devil (South Africa/UK: Richard Stanley, 1992: 87 mins)
El Goro. "Hardware (1990) and Dust Devil (1992)." Talk Without Rhythm #365 (April 11, 2017)
Final Analysis (USA: Phil Joanou, 1992: 124 mins)
López, Cristina Álvarez. "Primal Analysis." Cine Transit (February 25, 2016)
Glengarry Glen Ross (USA: James Foley, 1992: 100 mins)
Dixon, Parker, James Hancock and Nick Stevens. "Mamet and Foley’s Classic, Glengarry Glen Ross." Wrong Reel #146 (June 12, 2016)
Morton, Drew. "The American Dream in Film: As the man said, ‘America’s not a country. It’s just a business.’" Keyframe (May 30, 2016)
Hellraiser III: Hell on Earth (Canada/USA: Anthony Hickox, 1992: 93 mins)
Hancock, James and Skye Wingfield. "Pain and Pleasure in Clive Barker's Hellraiser." Wrong Reel (January 2016)
Koresky, Michael, Violet Lucca and Farran Smith Nehme. "Merchant Ivory and Howards End." Film Comment (July 19, 2016) ["Though associated with heritage films set in Britain’s imperial past, producer Ismail Merchant, director James Ivory, and screenwriter Ruth Prawer Jhabvala have collaborated on a variety of masterfully constructed literary adaptations since the early 1960s. Perhaps the pinnacle of their collaboration is Howards End, their 1992 film based on the E. M. Forster novel about class and inheritance set in Edwardian England."]
Hyenas (Switzerland/France/UK/Senegal: Djibril Diop Mambéty, 1992: 110 mins)
Gaye, Layla. "Djibril Diop Mambéty’s Mesmerizing Anti-Neocolonial Masterpiece Hyenas." Notebook (April 26, 2019)
"‘The Last of the Mohicans’: Michael Mann’s Riveting Love Story as the Formation of American Identity." Cinephilia & Beyond (ND)
Morrison, Benedict. "Inarticulate Lives: A Reading of the Opening of Terence Davies The Long Day Closes." Movie #8 (2019)
Wood, Jason. "Directors of the Year: Terence Davies." International Film Guide: 2012 ed. Ian Hadyn Smith.
Man Bites Dog (Belgium: Rémy Belvaux, André Bonzel, and Benoît Poelvoorde, 1992: 95 mins)
Manufacturing Consent: Noam Chomsky and the Media (Canada: Mark Achbar and Peter Wintonick, 1992: 167 mins)
Atkinson, Michael. "Archival Trouble: The fiction-free science fiction of Adam Curtis." Moving Image Source (February 16, 2012)
Romper Stomper (Australia: Geoffrey Wright, 1992: 94 mins)
Rivas, T.J. "Cinematic Responses to Fascism." Film History and Aesthetics Wiki (A Project of Film 110: Introduction to Film History and Aesthetics at Westminster College)
Simple Men (Italy/UK/USA: Hal Hartley, 1992: 105 mins)
Hal Hartley Pinewood Dialogues (January 14, 1995) ["Hal Hartley's films are marked by spare, precise visuals, a stylized approach to dialogue that allows characters to speak their innermost thoughts, and an intuitive gift for playing with the conventions of movie-making and storytelling. Playing off the contrast between cerebral characters and quotidian settings, Hartley creates comedic inquiries into the nature of belonging and the search for personal freedom. In the role of writer, director, editor and composer, Hartley exerts control over films about characters for whom control is a fragile and elusive concept. This dialogue took place at a complete retrospective early in Hartley's career."]
Hancock, James and Marcus Pinn. "The Cinema of Hal Hartley." The Wrong Reel #149 (June 16, 2016)
Swoon (USA: Tom Kalin, 1992: 93 mins)
One of the most daring works to emerge from the New Queer Cinema movement of the early 1990s, Swoon offers a radical, revisionist perspective on the infamous Leopold and Loeb murder case. Channeling the spirits of Dreyer, Bresson, and Jean Genet, director Tom Kalin challenges viewers to identify with two of the most notorious killers of the 20th century, their crime—the Nietzsche-influenced thrill killing of a schoolboy in 1920s Chicago— and punishment recounted in ghostly black and white by Kuras. Throughout, Kalin cannily deconstructs the ways in which Leopold and Loeb’s homosexuality has been historically sensationalized and demonized—a provocative analogy for queer persecution in the AIDS era. - The Female Gaze (2018)
The Unforgiven (USA: Clint Eastwood, 1992: 131 mins)
McGee, Patrick. From Shane to Kill Bill: Rethinking the Western. Malden, MA: Blackwell, 2007.[Professor has copy]
1993
Arizona Dream (USA: Emir Kusturica, 1993: 142 mins)
Rappoport, Mark. "The Empty Screen." Talkhouse (Posted on Youtube: February 7, 2017) ["The screen is a neutral element in the film-going experience. Or is it? It projects dreams but is also the receptacle of our dreams. It’s the vehicle for delivering the image to an audience — but does it also watch the audience at the same time? Is it a complicitous membrane which audience members can penetrate and which interacts with the spectators, despite its seeming passivity? Maybe — to all of the above …"]
Liz, Luiza. "Peter Greenaway and the Language of Film." (Posted on Youtube: July 25, 2016)
"Bad Boy Bubby (1993)." 366 Weird Movies (April 4, 2012)
Body Snatchers (USA: Abel Ferrara, 1993: 87 mins)
Jenkins, Jamie, Mark Mcgee and Mike White. "Invasion of the Body Snatchers." The Projection Booth #130 (September 3, 2013) ["From the deep reaches of space the pods arrive, ready to take over the human race, erasing our humanity and turning us into walking vegetables. We're looking at the four versions of Invasion of the Body Snatchers (and a few other films)."]
Carlito's Way (USA: Brian DePalma, 1993: 144 mins)
Seitz, Matt Zoller. "Carlito's Way." Reverse Shot (November 26, 2006)
Cement Garden (France/Germany/UK: Andrew Birkin, 1993: 101 mins)
Hancock, James and Orest Ludwig. "Confronting Taboos Through the Films of Charlotte Gainsbourg." Wrong Reel #232 (February 2017)
In this esoteric variant on the vampire myth, antiques dealer Jesus Gris (Federico Luppi) discovers an alchemical ‘Cronos device’ hidden in a carved archangel and, over the Christmas period, as evil men come for the contraption, darkly re-enacts his Biblical namesake’s story. In his debut feature, Guillermo del Toro already exhibits what would later become obsessive motifs in his genre filmmaking: cogs and clockwork, heroic monsters and monstrous humans, and adult affairs seen from a child’s view (here Jesus’s granddaughter Aurora bears mute witness to the unfolding passion play). Del Toro regular Ron Perlman is there too, as a thuggish villain. – Anton Bitel
Heumann, Joseph and Robin Murray. "“As beautiful as a butterfly”?: Monstrous cockroach nature and the horror film." Jump Cut #56 (Winter 2014/2015)
Dazed and Confused (USA: Richard Linklater, 1993: 102 mins)
Wilson, Carl. "Daze of Our Lives: Revisiting Richard Linklater’s shaggy classic." Bookforum (May 2021)
Hated: GG Allin and the Murder Junkies (USA: Todd Phillips, 1993: 52 mins)Bursztynski, Maurice, Wendi Freeman and Tim Merrill. "Hated:GG Allin and The Murder Junkies." See Hear #1 (January 14, 2014) ["No gentle start for the team as they discuss the Todd Phillips documentary about notorious punk rock singer GG Allin. The film is not for the faint of heart (and our language may reflect the content discussed), but it is a fascinating look at a man who truly knew no boundaries in they way he lived his life. He is held in equal contempt and admiration by the public and ex-band members."]
Kika (Spain: Pedro Almodovar, 1993: 114 mins)
Flores, Steven. "The Auteurs: Pedro Almodovar (Part 1)." Cinema Axis (September 29, 2014)
---. "The Auteurs: Pedro Almodovar (Part 2)." Cinema Axis (October 6, 2014)
---. "The Auteurs: Pedro Almodovar (Part 2)." Cinema Axis (October 6, 2014)
Soderbergh, Steven. "On King of the Hill." The Current (February 26, 2014)
Mrs. Doubtfire (USA: Chris Columbus, 1993: 125 mins)
Buckler, Dana. "Robin Williams Retrospective." How Is This Movie? (May 30, 2017)
Naked (UK: Mike Leigh, 1993: 132 mins)
The Nightmare Before Christmas (USA: Henry Selick, 1993: 76 mins)
Ford, Ashley C. "The Nightmare Before Christmas." Movies That Changed Me (February 6, 2018) ["The Nightmare Before Christmas helped writer Ashley C. Ford accept life’s imperfections. As a kid, the movie taught her that it was okay to be different and to embrace the weird and the creepy."]
Brody, Richard. "DVD of the Week: Oh, Woe is Me." The Front Row (May 31, 2011)
Raining Stones (UK: Ken Loach, 1993: 90 mins)
Fox, Neil and Dario Linares. "Social Realism?" The Cinematologists (September 21, 2017) ["The discussion covers Leigh's Life Is Sweet (1990) and Loach's Riff-Raff(1991), Raining Stones (1993) and Ladybird Ladybird (1994) - and the recent I, Daniel Blake (2016), which is not in the Loach set - asd well as getting into a more general chat about the spectre of social realism in British film history."]
Rising Sun (USA: Philip Kaufman, 1993: 129 mins)
Insdorf, Annette. Cinematic Overtures: How to Read Opening Scenes. Columbia University Press, 2017. ["Your professor has a copy of this book."]
Goro, El. "Stand by Me (1986) and Sandlot (1993)." Talk Without Rhythm #375 (June 25, 2017)
Clark, Ashley. "Alien abductions: 12 Years a Slave and the past as science fiction." Sight and Sound (April 14, 2015)
The Secret Garden (USA: Agnieszka Holland, 1993: 101 mins)
Merrick, Amy. "Living In: The Secret Garden." Design Sponge (April 5, 2011)
Six Degrees of Separation (USA: Fred Schepisi, 1993: 112 mins)
Tolliver, Willie. "Postlude to a Kiss: Will Smith's Performances of Race and Sexuality in Fred Schepisi's Six Degrees of Separation." Bright Lights Film Journal #76 (May 2012)
Sonatine (Japan: Takeshi Kitano, 1993: 94 mins)
Fyfe, Stewart Heinz. "Impressions of Violence, Moments of Witness: Style in the Assassination Scenes of Takeshi Kitano’s Sonatine." 16:9 (February 2006)
True Romance (USA/France: Tony Scott, 1993: 120 mins)
Cargill, Robert C and Brian Salisbury. "True Romance." Junk Food Cinema (February 19, 2017)
The War Room (USA: Chris Hegedus and D.A. Pennebaker, 1993: 96 mins)
Enright, Keith and Aaron West. "The War Room and Politics in Film." Criterion Close-Up #39 (May 31, 2016) ["Aaron is joined by Keith Enright for a discussion of politics, new and old, through the lens of The War Room (1993), the behind-the scenes 1992 Clinton campaign documentary. We go into depth about the backroom politics and how those are what defines the campaign, but are usually far from the public eye. We contrast the politics of today and yesterday by looking the current affairs and Robert Drew’s Primary."]
The Wedding Banquet (Taiwan/USA: Ang Lee, 1993: 106 mins)
Lee, Kevin B. "Hope for Film: Lessons from Ang Lee’s Career." Keyframe (June 1, 2014)
What's Eating Gilbert Grape (USA: Lasse Hallström, 1993: 118 mins)
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?"]
Cashell, Kieran Anthony. "Charm and Strangeness: The Aesthetic and Epistemic Dimensions of Derek Jarman’s Wittgenstein." Film-Philosophy 16.1 (2012)
Falzon, Christopher. "Philosophy Through Film." Internet Encyclopedia of Philosophy (August 12, 2013)
1994
71 Fragments of a Chronology of a Chance. (Austria: Michael Haneke, 1994: 100 mins)
Frey, Mattias. "Great Directors: Michael Haneke." Senses of Cinema #57 (2010)
Amateur (USA/UK/France: Hal Hartley, 1994: 105 mins)
Hal Hartley Pinewood Dialogues (January 14, 1995) ["Hal Hartley's films are marked by spare, precise visuals, a stylized approach to dialogue that allows characters to speak their innermost thoughts, and an intuitive gift for playing with the conventions of movie-making and storytelling. Playing off the contrast between cerebral characters and quotidian settings, Hartley creates comedic inquiries into the nature of belonging and the search for personal freedom. In the role of writer, director, editor and composer, Hartley exerts control over films about characters for whom control is a fragile and elusive concept. This dialogue took place at a complete retrospective early in Hartley's career."]
Hancock, James and Marcus Pinn. "The Cinema of Hal Hartley." The Wrong Reel #149 (June 16, 2016)
Anjaam (India: Rahul Rawail, 1994: 170 mins)
Erndl, Kathleen M. "Woman Becomes Goddess in Bollywood: Justice, Violence, and the Feminine in Popular Hindi Film." Journal of Religion & Film 17.2 (October 2013)
Ashes of Time (Hong Kong/Taiwan: Wong Kar-Wai, 1994: 100 mins)
Flores, Steven. "The Auteurs: Wong Kar-Wai." Cinema Axis (January 5, 2014)
Hurne, Mark and Aaron West. "Barcelona and Whit Stillman." Criterion Close-Up #41 (June 21, 2016)
Crooklyn (USA: Spike Lee, 1994: 115 mins)
Murphy, Mekado. "How Spike Lee Created Three Signature Visual Shots." The New York Times (August 2, 2018)
"Terry Swigoff's Crumb." The Criterion Cast #122 (May 7, 2012)
Exotica (Canada: Atom Egoyan, 1994: 103 mins)
Digging Deeper. "Exotica: Finding a Paradise Lost." (Posted on Youtube: November 30, 2015)
Egoyan, Atom. "Voyeurism, Memory, Obsession, and Intimacy." Moving Image Source (March 12, 1995)
Four Weddings and a Funeral (UK: Mike Newell, 1994: 117 mins)
Walters, James. "Moments Apart." Movie #8 (2019)
The Glass Shield (France/USA: Charles Burnett, 1994: 109 mins)
Charles Burnett Tribute | 2017 Governors Awards for the Academy of Motion Picture Arts & Sciences from Shola Lynch on Vimeo.
Frank, Alison. "Heavenly Creatures." Electric Sheep Magazine (September 13, 2011)
The Hudsucker Proxy (USA: Joel Coen and Ethan Coen, 1994: 111 mins)
Beyl, Cameron. "The Coen Brothers [4.2]: The Postmodern Pictures." The Directors Series (June 14, 2016)
In the Mouth of Madness (USA: John Carpenter, 1994: 95 mins)
Fichera, Blake and James Hancock. "John Carpenter, Horror Master." Wrong Reel #272 (May 29, 2017)
"John Carpenter’s Apocalypse Trilogy: The Thing - Prince of Darkness - Mouth of Madness." Horror Vanguard (October 4, 2022)
Ladybird Ladybird (UK: Ken Loach, 1994: 101 mins)
Fox, Neil and Dario Linares. "Social Realism?" The Cinematologists (September 21, 2017) ["The discussion covers Leigh's Life Is Sweet (1990) and Loach's Riff-Raff(1991), Raining Stones (1993) and Ladybird Ladybird (1994) - and the recent I, Daniel Blake (2016), which is not in the Loach set - asd well as getting into a more general chat about the spectre of social realism in British film history."]
Kuersten, Erich. "CinemArchetype #7: The Shadow." Acidemic (March 8, 2012)
Mary Shelley's Frankenstein (USA/Japan/UK: Kenneth Branagh, 1994: 123 mins)
D., Margo and Margo P. "Mary Shelley's Frankenstein." Book vs Movie (October 15, 2017) ["The Margos take on the wildest adaptation of the show’s history with the sublime Frankenstein compared to the frankly ridiculous Kenneth Branagh 1994 film. The Margos get very gothic and silly sometimes trying to wrap their heads around Mary Shelley’s venerated classic novel with Henry V director Kenneth Branagh’s wildly acted and directed film. How crazy is this adaptation? How about a dance sequence between a zombie Helena Bonham Carter and Robert De Niro as “the monster?” This film is completely cray-cray but the backstory of Mary Wollstonecraft Shelley is one of the greatest tales of 19th Century literature and we definitely dive into her fascinating life story. Plus, all of the machinations that led to the publishing of her book in 1818 and the revisions in the 1831 version."]
Brockmann, Stephen. "Der bewegte Mann (1994) or West German Self-Absorption." A Critical History of German Film Rochester, NY: Camden House, 2010: 436-445. [Professor has copy of the book]
Mrs. Parker and the Vicious Circle (USA/Canada: Alan Rudolph, 1994: 125 mins)
Leigh, Jennifer Jason. "Mrs. Parker and the Vicious Circle." Pinewood Dialogues (November 23, 1994) ["Jennifer Jason Leigh is remarkable for her chameleon-like ability to transform herself, physically and psychologically, for each of her roles. Her ability to inhabit her characters comes from an intensive process of preparation and research, and from a fearlessness that allows her to abandon her reflective personality and become another person onscreen. Leigh has consistently sought out risky, interesting roles, working for such directors as Robert Altman, David Cronenberg, and Alan Rudolph. She spoke at the Museum on the day she received rave reviews for her dazzling portrayal of Dorothy Parker in Mrs. Parker and the Vicious Circle."]
Muriel's Wedding (Australia: PJ Hogan, 1994: 106 mins)
Freeman, Mark and Eloise Ross. "The Larrikin Girl: Challenging archetypes in Australian cinema." Senses of Cinema #103 (October 2022)
Nadja (USA: Michael Almereyda, 1994: 93 mins)
Kuersten, Erich. "Druggie Vampire Women of B&W City: A GIRL WALKS HOME ALONE AT NIGHT, THE ADDICTION, NADJA." Acidemic (April 1, 2015)
Kuersten, Erich. "Druggie Vampire Women of B&W City: A GIRL WALKS HOME ALONE AT NIGHT, THE ADDICTION, NADJA." Acidemic (April 1, 2015)
Obuchowski, David. "Pain And Joy: A Life With NADJA Part One." Fangoria (May 24, 2021) ["The first of a five-part essay examining the making of Michael Almereyda's NADJA and the author's personal connection with that film." - each additional part is linked at the bottom]
Tafoya, Scout. "The Post-Punk Cinema Manifesto." Keyframe (September 10, 2015)
Natural Born Killers (USA: Oliver Stone, 1994: 118 mins)
Kuersten, Erich. "The Primal Father (CinemArchetypes #8)." Acidemic (March 19, 2012)
New Nightmare (USA: Wes Craven, 1994: 112 mins)
Queen Margot (France/Italy/Germany: Patrice Chéreau, 1994: 144 mins)
Heath, Roderick. "Queen Margot (La reine Margot, 1994)." This Island Rod (March 16, 2010)
Hudson, David. "Patrice Chereau’s QUEEN MARGOT: 'Imagine a Gallic-history encyclopedia written by Clive Barker.'" Keyframe (May 9, 2014)
River of Grass (USA: Kelly Reichardt, 1994: 76 mins)
McGoff, Jessica. "A Tribute to Kelly Reichardt: On going and letting go." Keyframe (March 11, 2016)
Satantango (Hungary/Germany/Switzerland: Bela Tarr, 1994: 450 mins)
Cutler, Aaron. "Multiple Vision: Deciphering the isolated gazes in the films of Béla Tarr." Multiple Image Source (February 2012)
The Secret of Roan Inish (USA/Ireland: John Sayles, 1994: 103 mins)
Spector, Lincoln. "John Sayles: Three to See." Keyframe (May 10, 2016)
Tafoya, Scout. "The Post-Punk Cinema Manifesto." Keyframe (September 10, 2015)
Natural Born Killers (USA: Oliver Stone, 1994: 118 mins)
Kuersten, Erich. "The Primal Father (CinemArchetypes #8)." Acidemic (March 19, 2012)
New Nightmare (USA: Wes Craven, 1994: 112 mins)
Hancock, James and Mike Vanderbilt. "One, Two, Freddy's Coming for You." Wrong Reel #329 (October 2017)
Heath, Roderick. "Queen Margot (La reine Margot, 1994)." This Island Rod (March 16, 2010)
Hudson, David. "Patrice Chereau’s QUEEN MARGOT: 'Imagine a Gallic-history encyclopedia written by Clive Barker.'" Keyframe (May 9, 2014)
River of Grass (USA: Kelly Reichardt, 1994: 76 mins)
McGoff, Jessica. "A Tribute to Kelly Reichardt: On going and letting go." Keyframe (March 11, 2016)
Satantango (Hungary/Germany/Switzerland: Bela Tarr, 1994: 450 mins)
Cutler, Aaron. "Multiple Vision: Deciphering the isolated gazes in the films of Béla Tarr." Multiple Image Source (February 2012)
The Secret of Roan Inish (USA/Ireland: John Sayles, 1994: 103 mins)
Spector, Lincoln. "John Sayles: Three to See." Keyframe (May 10, 2016)
Spanking the Monkey (USA: David O. Russell, 1994: 100 mins)
Johnson, Mackenzie. "What Makes David O. Russell so David O. Russell." Film Stage (October 17, 2016)
Hart, David and David Shreve. "Speed and Entitlement." Pop Culture Case Study #209 (February 9, 2017)
Sobchack, Vivian. "What My Fingers Knew: The Cinesthetic Subject, or Vision in the Flesh." Senses of Cinema (April 2000)
Super 8 1/2 (Canada/Germany/USA: Bruce La Bruce, 1994: 99 mins)
Tafoya, Scout. "The Post-Punk Cinema Manifesto." Keyframe (September 10, 2015)
To Die For (USA/UK/Canada: Gus van Sant, 1994: 106 mins)
"To Die For and Self Preservation." Pop Culture Case Study #263 (106 mins)
True Lies (USA: James Cameron, 1994: 141 mins)
Buckler, Dana. "True Lies (1994)." How Is This Movie? (June 26, 2017)
Wild Reeds (France: André Téchiné, 1994: 110 mins)
Cone, Stephen. "A Constant Becoming." The Current (September 4, 2019) [On André Téchiné’s 1994 film Wild Reeds.]
1995
Babe (Australia/USA: Chris Noonan, 1995: 91 mins)
Guerard, Emma, et al. "Babe: That'll Do Comrade, That'll Do." Flixwise #24 (July 19, 2016)
Rehlin, Gunnar. "Directors of the Year: Tomas Alfredson." International Film Guide: 2012. 48th Edition. [BCTC Library: PN 1993.3 I544 2012]
The Brady Bunch Movie (USA: Betty Thomas, 1995: 90 mins)
Koski, Genvieve, et al. "Baywatch / Brady Bunch (Pt. 1)." The Next Picture Show (May 30, 2017)
---. "Baywatch / Brady Bunch (Pt. 2)." The Next Picture Show (June 1, 2017)
---. "Baywatch / Brady Bunch (Pt. 2)." The Next Picture Show (June 1, 2017)
Barton-Fumo, Margaret. "Location, Location, Location." Film Comment Podcast (July 18, 2017) ["Plenty of films open with an establishing shot of a city’s iconic skyline, or of a few iconic barns, only to go on and use the location as an anonymous backdrop. But few and far between are films that actually use the specificity that comes from location shooting to express something about the city’s history, the characters, and the story itself. The cover story of our July/August issue is the Safdie Brothers’ Good Time—a New York film through and through—and in the same issue’s Art and Craft column, we asked veteran location manager Ken Lavet to reflect on the art of scouting for Steven Soderbergh and other filmmakers. “It always starts with the story—whether it’s in a beat sheet form or a script or a treatment of some kind,” Lavet writes. “Hopefully I get some description from the screenwriter—of, say, a house, or an apartment building, or an office. And I start looking with that in mind.”"]
The Celluloid Closet (France/UK/USA/Germany: Rob Epstein and Jeffrey Friedman, 1995: 102 mins)
Hudson, David. "Sex in the Movies." Green Cine (2005)
Devil In a Blue Dress (USA: Carl Franklin, 1995: 102 mins)
Kimble, Julian. "Devil in a Blue Dress: Crossing the Line." Current (July 20, 2022) ["The American dream has always been a spectacular lie. Not everyone is afforded equal rights or opportunity—and that’s by design. America is a dream seller that has gone out of its way to show Black people in particular that they can chase the carrot should they choose, but it will be to no avail. Throughout Devil in a Blue Dress, Carl Franklin’s sharp 1995 noir thriller, Ezekiel “Easy” Rawlins (Denzel Washington) is confronted with the boundaries he must respect as a Black man in 1948 Los Angeles, as he tries to build a life for himself after serving in World War II. Out of work and needing to pay his mortgage, he finds those barriers magnified when he is tasked with locating Daphne Monet (Jennifer Beals), a woman who appears to be white, enjoys “jazz, pigs’ feet, and dark meat,” and used to be engaged to former mayoral candidate Todd Carter (Terry Kinney). Devil in a Blue Dress takes Easy on a journey through Black Los Angeles and into the shadows of the city’s white aristocracy, showing how much race informs the ways the power brokers play their hands."]
Die Hard with a Vengeance (USA: John McTiernan, 1995: 128 mins)
Buckler, Dana. "The Die Hard Trilogy." How Is This Movie? (April 25, 2017)
Empire Records (USA: Allan Moyle, 1995: 90 mins)
Cargill, Robert C. and Brian Salisbury. "Empire Records." Junk Food Cinema (February 2017)
Fallen Angels (Hong Kong: Wong Kar Wai, 1995: 96 mins)
Flores, Steven. "The Auteurs: Wong Kar-Wai." Cinema Axis (January 5, 2014)
Fujishima, Kenji and Peter Labuza. "Fallen Angels." The Cinephiliacs #3 (August 12, 2012)
The Flower of My Secret (Spain: Pedro Almodovar, 1995: 103 mins)
Habit (USA: Larry Fessenden, 1995: 112 mins)
Langan, John, et al. "Larry Fessenden's Habit." The Horror Pod Class 3.3 (August 28, 2019)
Hackers (USA: Iain Softley, 1995: 107 mins)
Cargill, Robert C. and Brian Salisbury. "Hackers." Junk Food Cinema (February 2, 2017) ["
How to Make an American Quilt (USA: Jocelyn Moorhouse, 1995: 109 mins)
Haggard, Tiffany. "How to Make an American Quilt." Dialogic Cinephilia (November 5, 2013)
Johnny Mnemonic (Canada/USA: Robert Longo, 1995: 96 mins)
El Goro. "Johnny Mnemonic (1995) and Strange Days (1995)." Talk Without Rhythm #364 (April 2, 2017)
Judge Dredd (USA: Danny Cannon, 1995: 96 mins)
Goodwin, Paul, et al. "Special Report: Future Shock - The Story of 2000 AD (2014)." The Projection Booth (February 2, 2017) ["Britain's ground-breaking 2000 AD comic introduced a raft of vital artists and writers along with indelible characters like Judge Dredd, Halo Jones, Strontium Dog, and more. The documentary Future Shock! The Story of 2000 AD (2014) tells the story of the ups and downs of this influential work. Director Paul Goodwin and producer Sean Hogan discuss the creation of Future Shock!. Josh Hadley joins Mike to reminisce about comics and the film adaptations of various 2000 AD stories."]
Kids (USA: Larry Clark, 1995: 91 mins)
Martin, Adrian. "A Larry Clark Portrait." 16:9 (September 2005)
La Haine (France: Mathieu Kassovitz, 1995: 98 mins)
Land and Freedom (UK/Spain/Germany/Italy: Ken Loach, 1995: 109 mins)
The Living Dead: Three Films About the Power of the Past (United Kingdom: Adam Curtis, 1995: 124 mins)
Atkinson, Michael. "Archival Trouble: The fiction-free science fiction of Adam Curtis." Moving Image Source (February 16, 2012)
Nixon (USA: Oliver Stone, 1995: 192 mins)
Lee, Kevin B. and Matt Zoller Steitz. "Arsenic and Apple Pie: Patriotism and Propaganda in Born on the Fourth of July [Oliver Stone, Part 1]." Moving Image Source (October 14, 2008)
---. "Unreliable Narratives: JFK and the Power of Counter-Myth. [Oliver Stone, Part 2]." Moving Image Source (October 15, 2008)
---. "Fear and Self-Loathing: Nixon and the Unmaking of a President [Oliver Stone, Part 3]." Moving Image Source (October 16, 2008)
---. "Empire of the Son: War and civilization in Alexander, and an epilogue on W [Oliver Stone, Part 4]." Moving Image Source (October 17, 2008)
Pilots (Germany: Christian Petzold, 1995: 68 mins)
Castro, Joy. "'A Place Without Parents': Queer and Maternal Desire in the Films of Christian Petzold." Senses of Cinema #84 (September 2017)
Mahan, William. "Ghosts and their Prices: Surveillance and Image Economies in Christian Petzold’s Cinema." Senses of Cinema #84 (September 2017) ["This essay examines Christian Petzold’s lesser-known, early films of the 90s in their depiction of the German economy’s impact on individuals’ image-perception and then takes up his better-known film Die innere Sicherheit (The State I Am In, 2000) to trace a change in what can be thought of as image economies. It considers Petzold’s use of surveillance footage in the representation of images which are ascribed value and exchanged in economies that at times come up against relationships of solidarity between characters. While Petzold’s early films Pilotinnen (Pilots, 1995) and Die Beischlafdiebin (The Sex Thief, 1998) depict the struggle and exploitation of female workers within the German economy as well as the solidarity formed in the resistance against these forces, Petzold shifts in the early 2000s in The State I Am In to a larger scale examination of surveillance image economies that extend to the state. The film follows a family with presumed historical ties to the RAF, attempting in the present to remain under the radar. Once again, Petzold investigates relationships of solidarity threatened by image economies, though now with an eye directed towards the transfer of data to and use of surveillance footage by the state. Petzold’s trajectory appears to suggest an increasingly depersonalised society in general, (re)affirming Jonathan Beller’s argument for the increasing gravity of the image for both society and individuals. In addition, Petzold seems to addend Beller’s notions of proto-images and exploitation with a hopeful possibility that, ultimately, humans can win out over these forces through maintained solidarity."]
The Quick and the Dead (USA/Japan: Sam Raimi, 1995: 107 mins)
McGee, Patrick. From Shane to Kill Bill: Rethinking the Western. Malden, MA: Blackwell, 2007.[Professor has copy]
Salaam Cinema (Iran: Mohsen Makhmalbaf, 1995: 75 mins)
Hassannia, Tina and Amir Soltani. "From Puppet Shows to Makhmalbaf." Hello Cinema (March 24, 2014)
To Die For (USA/UK/Canada: Gus van Sant, 1995: 104 mins)
Landekic, Lola. "Pablo Ferro: A Career Retrospective, Part 2." Art of the Title (April 15, 2014)
Strange Days (USA: Kathryn Bigelow, 1995: 145 mins)
El Goro. "Johnny Mnemonic (1995) and Strange Days (1995)." Talk Without Rhythm #364 (April 2, 2017)
Twelve Monkeys (USA: Terry Gilliam, 1995: 129 mins)
Gilliam, Terry. "Brazil and Twelve Monkeys." Moving Image Source (January 6, 1996)
1996:
A Summer's Tale (France: Eric Rohmer, 1996: 113 mins)
Lee, Kevin B. "Rohmer’s Guessing Gazes." Keyframe (March 8, 2015) ["Or: why Rohmer’s films get only better with repeat viewings, like playing back the memory of a strange encounter, wondering how it might have gone differently."]
Martin, Adrian. "A Summer's Tale: Some Kind of Liar." Keyframe (February 23, 2015)
The Birdcage (USA: Mike Nichols, 1996: 117 mins)
Bound (USA: Lana Wachowski and Lily Wachowski, 1996: 108 mins)
Delaney, Erin. "Women Unbound: Queer Utopia in the Wachowski Sisters’ Bound." cléo 4.2 (December 2016)
Lenker, Maureen Lee. "Jennifer Tilly and Gina Gershon revisit their lesbian neo-noir Bound." Entertainment Weekly (June 6, 2019)
Brigands: Chapter VII (Georgia/France/Russia/Italy/Switzerland: Otar Iosseliani, 1996: 129 mins)
Rosenbaum, Jonathan. "Desperate Measures [OUT OF SIGHT & THE BRIGANDS: CHAPTER VII]." Chicago Reader (July 3, 1998)
The Cable Guy (USA: Ben Stiller, 1996: 96 mins)
"The Cable Guy (1996)." How Is This Movie? (August 16, 2016)
Citizen Ruth (USA: Alexander Payne, 1996: 106 mins)
Brill, Lesley. "Revisiting Citizen Ruth." Film International (May 14, 2011)
Conspirators of Pleasure (Czech Republic/USA/Switzerland: Jan Švankmajer, 1996: 85 mins)
LeSuer, Mike. "Spike Jonze vs. the Conspiring Escapist: On Her, Robert Coover’s Universal Baseball Association, and Jan Švankmajer’s Conspirators of Pleasure." Bright Lights Film Journal (January 16, 2015)
The Craft (USA: Andrew Fleming, 1996: 101 mins)
Gamble, Ione. "The Craft (1996)." The Final Girls (October 31, 2019) ["The Final Girls are joined by Ione Gamble to discuss witchcraft, teen girl politics, and why Nancy Downs remains a bastion of weirdness for teenage girls everywhere."]
Die Hard with a Vengeance (USA: John McTiernan, 1995: 128 mins)
Buckler, Dana. "The Die Hard Trilogy." How Is This Movie? (April 25, 2017)
Cargill, Robert C. and Brian Salisbury. "Empire Records." Junk Food Cinema (February 2017)
Flores, Steven. "The Auteurs: Wong Kar-Wai." Cinema Axis (January 5, 2014)
The Flower of My Secret (Spain: Pedro Almodovar, 1995: 103 mins)
Flores, Steven. "The Auteurs: Pedro Almodovar (Part 1)." Cinema Axis (September 29, 2014)
---. "The Auteurs: Pedro Almodovar (Part 2)." Cinema Axis (October 6, 2014)
---. "The Auteurs: Pedro Almodovar (Part 2)." Cinema Axis (October 6, 2014)
Habit (USA: Larry Fessenden, 1995: 112 mins)
Langan, John, et al. "Larry Fessenden's Habit." The Horror Pod Class 3.3 (August 28, 2019)
Cargill, Robert C. and Brian Salisbury. "Hackers." Junk Food Cinema (February 2, 2017) ["
Haggard, Tiffany. "How to Make an American Quilt." Dialogic Cinephilia (November 5, 2013)
Johnny Mnemonic (Canada/USA: Robert Longo, 1995: 96 mins)
El Goro. "Johnny Mnemonic (1995) and Strange Days (1995)." Talk Without Rhythm #364 (April 2, 2017)
Goodwin, Paul, et al. "Special Report: Future Shock - The Story of 2000 AD (2014)." The Projection Booth (February 2, 2017) ["Britain's ground-breaking 2000 AD comic introduced a raft of vital artists and writers along with indelible characters like Judge Dredd, Halo Jones, Strontium Dog, and more. The documentary Future Shock! The Story of 2000 AD (2014) tells the story of the ups and downs of this influential work. Director Paul Goodwin and producer Sean Hogan discuss the creation of Future Shock!. Josh Hadley joins Mike to reminisce about comics and the film adaptations of various 2000 AD stories."]
Martin, Adrian. "A Larry Clark Portrait." 16:9 (September 2005)
La Haine (France: Mathieu Kassovitz, 1995: 98 mins)
Raengo, Alessandra. "Holding Blackness: Aesthetics of Suspensions." Liquid Blackness #7 (October 2017)
Spence, Steve. "Hip-Hop Aesthetics and La Haine." Liquid Blackness #7 (October 2017)
The Living Dead: Three Films About the Power of the Past (United Kingdom: Adam Curtis, 1995: 124 mins)
Atkinson, Michael. "Archival Trouble: The fiction-free science fiction of Adam Curtis." Moving Image Source (February 16, 2012)
Nixon (USA: Oliver Stone, 1995: 192 mins)
Lee, Kevin B. and Matt Zoller Steitz. "Arsenic and Apple Pie: Patriotism and Propaganda in Born on the Fourth of July [Oliver Stone, Part 1]." Moving Image Source (October 14, 2008)
---. "Unreliable Narratives: JFK and the Power of Counter-Myth. [Oliver Stone, Part 2]." Moving Image Source (October 15, 2008)
---. "Fear and Self-Loathing: Nixon and the Unmaking of a President [Oliver Stone, Part 3]." Moving Image Source (October 16, 2008)
---. "Empire of the Son: War and civilization in Alexander, and an epilogue on W [Oliver Stone, Part 4]." Moving Image Source (October 17, 2008)
Pilots (Germany: Christian Petzold, 1995: 68 mins)
Castro, Joy. "'A Place Without Parents': Queer and Maternal Desire in the Films of Christian Petzold." Senses of Cinema #84 (September 2017)
Mahan, William. "Ghosts and their Prices: Surveillance and Image Economies in Christian Petzold’s Cinema." Senses of Cinema #84 (September 2017) ["This essay examines Christian Petzold’s lesser-known, early films of the 90s in their depiction of the German economy’s impact on individuals’ image-perception and then takes up his better-known film Die innere Sicherheit (The State I Am In, 2000) to trace a change in what can be thought of as image economies. It considers Petzold’s use of surveillance footage in the representation of images which are ascribed value and exchanged in economies that at times come up against relationships of solidarity between characters. While Petzold’s early films Pilotinnen (Pilots, 1995) and Die Beischlafdiebin (The Sex Thief, 1998) depict the struggle and exploitation of female workers within the German economy as well as the solidarity formed in the resistance against these forces, Petzold shifts in the early 2000s in The State I Am In to a larger scale examination of surveillance image economies that extend to the state. The film follows a family with presumed historical ties to the RAF, attempting in the present to remain under the radar. Once again, Petzold investigates relationships of solidarity threatened by image economies, though now with an eye directed towards the transfer of data to and use of surveillance footage by the state. Petzold’s trajectory appears to suggest an increasingly depersonalised society in general, (re)affirming Jonathan Beller’s argument for the increasing gravity of the image for both society and individuals. In addition, Petzold seems to addend Beller’s notions of proto-images and exploitation with a hopeful possibility that, ultimately, humans can win out over these forces through maintained solidarity."]
McGee, Patrick. From Shane to Kill Bill: Rethinking the Western. Malden, MA: Blackwell, 2007.[Professor has copy]
Salaam Cinema (Iran: Mohsen Makhmalbaf, 1995: 75 mins)
Hassannia, Tina and Amir Soltani. "From Puppet Shows to Makhmalbaf." Hello Cinema (March 24, 2014)
To Die For (USA/UK/Canada: Gus van Sant, 1995: 104 mins)
Koski, Genevieve, et al. "I, Tonya / To Die For (1995), Part 1." The Next Picture Show #110 (January 9, 2018) ["Craig Gillespie’s crowd-pleasing new I, TONYA features a tragicomic tone, a genesis in tabloid true-crime, and an abundance of style, all qualities it shares with Gus Van Sant’s 1995 mockumentary TO DIE FOR, starring an ascendant Nicole Kidman. In this half of our discussion of the two films, we attempt to pinpoint where TO DIE FOR fits into Van Sant’s varied filmography, how it navigates its tricky tonal and narrative divides, and what exactly its broad satire is actually targeting."]
---. "I, Tonya / To Die For (1995), Part 2." The Next Picture Show #111 (January 11, 2018) ["Like Gus Van Sant’s TO DIE FOR, Craig Gillespie’s new I, TONYA takes a light, playful tone with a lot of ugly events, an approach that’s earned it acclaim and some criticism, particularly for its treatment of domestic violence. We talk over our reactions to that and the rest of I, TONYA, then dive into the many connections between these two films, from their portrayals of a scandal-hungry media to their depictions of ambitious women in bad marriages to their conspicuous use of attention-getting music."]
---. "I, Tonya / To Die For (1995), Part 2." The Next Picture Show #111 (January 11, 2018) ["Like Gus Van Sant’s TO DIE FOR, Craig Gillespie’s new I, TONYA takes a light, playful tone with a lot of ugly events, an approach that’s earned it acclaim and some criticism, particularly for its treatment of domestic violence. We talk over our reactions to that and the rest of I, TONYA, then dive into the many connections between these two films, from their portrayals of a scandal-hungry media to their depictions of ambitious women in bad marriages to their conspicuous use of attention-getting music."]
Landekic, Lola. "Pablo Ferro: A Career Retrospective, Part 2." Art of the Title (April 15, 2014)
Strange Days (USA: Kathryn Bigelow, 1995: 145 mins)
El Goro. "Johnny Mnemonic (1995) and Strange Days (1995)." Talk Without Rhythm #364 (April 2, 2017)
Twelve Monkeys (USA: Terry Gilliam, 1995: 129 mins)
Flores, Steven. "The Auteurs: Terry Gilliam." Cinema Axis (November 8, 2014)
1996:
A Summer's Tale (France: Eric Rohmer, 1996: 113 mins)
Lee, Kevin B. "Rohmer’s Guessing Gazes." Keyframe (March 8, 2015) ["Or: why Rohmer’s films get only better with repeat viewings, like playing back the memory of a strange encounter, wondering how it might have gone differently."]
Martin, Adrian. "A Summer's Tale: Some Kind of Liar." Keyframe (February 23, 2015)
The Birdcage (USA: Mike Nichols, 1996: 117 mins)
Buckler, Dana. "Robin Williams Retrospective." How Is This Movie? (May 30, 2017)
Delaney, Erin. "Women Unbound: Queer Utopia in the Wachowski Sisters’ Bound." cléo 4.2 (December 2016)
Brigands: Chapter VII (Georgia/France/Russia/Italy/Switzerland: Otar Iosseliani, 1996: 129 mins)
Rosenbaum, Jonathan. "Desperate Measures [OUT OF SIGHT & THE BRIGANDS: CHAPTER VII]." Chicago Reader (July 3, 1998)
The Cable Guy (USA: Ben Stiller, 1996: 96 mins)
"The Cable Guy (1996)." How Is This Movie? (August 16, 2016)
Brill, Lesley. "Revisiting Citizen Ruth." Film International (May 14, 2011)
Conspirators of Pleasure (Czech Republic/USA/Switzerland: Jan Švankmajer, 1996: 85 mins)
LeSuer, Mike. "Spike Jonze vs. the Conspiring Escapist: On Her, Robert Coover’s Universal Baseball Association, and Jan Švankmajer’s Conspirators of Pleasure." Bright Lights Film Journal (January 16, 2015)
The Craft (USA: Andrew Fleming, 1996: 101 mins)
Gamble, Ione. "The Craft (1996)." The Final Girls (October 31, 2019) ["The Final Girls are joined by Ione Gamble to discuss witchcraft, teen girl politics, and why Nancy Downs remains a bastion of weirdness for teenage girls everywhere."]
Fear (USA: James Foley, 1996: 97 mins)
Kuersten, Erich. "CinemArchetype #3: The Animus." Acidemic (February 1, 2012)
Fire (Canada/Fire: Deepa Mehta, 1996: 104 mins)
Burton, David F. "Fire, Water and The Goddess: The Films of Deepa Mehta and Satyajit Ray as Critiques of Hindu Patriarchy" The Journal of Religion & Film 17.2 (October 2013)
The Funeral (USA: Abel Ferrara, 1996: 99 mins)
Larke-Walsh, George S. and Stephanie Oliver. "‘This Thing of Ours’: A Woman’s Place in the Gangster Genre." Senses of Cinema #91 (July 2019)
Irma Vep (France: Olivier Assayas, 1996: 99 mins)
Fidler, John. "Irma Vep." Senses of Cinema #56 (2010)
Flirting With Disaster (USA: David O. Russell, 1996: 92 mins)
Johnson, Mackenzie. "What Makes David O. Russell so David O. Russell." Film Stage (October 17, 2016)
Fly Away Home (USA: Carroll Ballard, 1996: 107 mins)
Cone, Stephen. "Films for Children at the End of the World: An Appreciation of Carroll Ballard." Talkhouse (April 6, 2018)
Grace of My Heart (USA: Allison Anders, 1996: 116 mins)
Bursztynski, Maurice, et al. "Grace of My Heart." See Hear #14 (February 18, 2015) ["Alison Anders directed film from 1997, Grace of My Heart starring Ileana Douglas, Eric Stoltz, Matt Dillon and the always awesome John Turturro. It covers about 12 years in the life of Edna Buxton who has a dream to be a singer and a songwriter in a period when you were one or the other but not both. The film follows her ambitions, disappointments, love life, and song writing ambitions against the backdrop of the Sixties. While the film is fictitious, its characters are based on real life people like Carole King, Brian Wilson, (the late) Lesley Gore, and Phil Spector. The songs specially written for the film come from Joni Mitchell, Redd Kross and most famously Burt Bacharach & Elvis Costello. The team had a great time discussing the fashions, the hairstyles, the songs, the philandering, whether Carole King married Brian Wilson in an alternate reality, and whether we actually enjoyed the film."]
I Shot Andy Warhol (UK/USA: Mary Harron, 1996: 103 mins)
Gross, Anisse. "Mary Harron [SCREENWRITER, DIRECTOR]." Believer (March/April 2014)
Kapica, Stephen S. "The multivalent feminism of The Notorious Bettie Page." #55 (Fall 2013)
Jerry Maguire (USA: Cameron Crowe, 1996: 139 mins)
"Jerry Maguire." The Canon #4 (November 24, 2014)
La Promesse (Belgium/France/Luxembourg/Tunisia: Jean-Pierre Dardenne and Luc Dardenne, 1996: 94 mins)
Hughes, Darren. "#20: LaPromesse." Arts and Faith Top 100 Films (2011)
Sterritt, David. "The Promise World Cinema Directory (2013)
Mission Impossible (USA: Brian DePalma, 1996: 110 mins)
Mother (USA: Albert Brooks, 1996: 104 mins)
Laczkowski, Jim, et al. "Albert Brooks." Director's Club #129 (June 5, 2017)
Nenette and Boni (France: Claire Denis, 1996: 103 mins)
Connolly, Matt. "Living in the Moment: Nénette et Boni." Reverse Shot #29 (2009)
Nightjohn (USA: Charles Burnett, 1996: 92 mins)
The Pillow Book (Netherlands/UK/France/Luxembourg: Peter Greenaway, 1996: 126 mins)
The Portrait of a Lady (UK/USA: Jane Campion, 1996: 144 mins)
Flores, Steven. "The Auteurs: Jane Campion." Cinema Axis (September 30, 2013)
Prisoner of the Mountains (Russia/Kazakhstan: Sergey Bodrov, 1996: 99 mins)
Springer, Claudia. :Taken by Muslims: Captivity Narratives in The Lives of a Bengal Lancer and Prisoner of the Mountains." Jump Cut #53 (Summer 2011)
Red Hollywood (USA: Thom Anderson and Noël Burch, 1996: 118 mins)
Kizirian, Shari. "The Radical Left’s Hollywood Heyday: Airing out the films and ideas stifled by the Blacklist in Red Hollywood." Keyframe (May 1, 2016)
Scream (USA: Wes Craven, 1996: 103 mins)
Dawson, Mike. "Analysis: Is Scream a Parody, Pastiche, or Post Modern Thriller?" Left Field Cinema (February 27, 2009)
Kuersten, Erich. "CinemArchetype #3: The Animus." Acidemic (February 1, 2012)
Burton, David F. "Fire, Water and The Goddess: The Films of Deepa Mehta and Satyajit Ray as Critiques of Hindu Patriarchy" The Journal of Religion & Film 17.2 (October 2013)
The Funeral (USA: Abel Ferrara, 1996: 99 mins)
Larke-Walsh, George S. and Stephanie Oliver. "‘This Thing of Ours’: A Woman’s Place in the Gangster Genre." Senses of Cinema #91 (July 2019)
Irma Vep (France: Olivier Assayas, 1996: 99 mins)
Fidler, John. "Irma Vep." Senses of Cinema #56 (2010)
Flirting With Disaster (USA: David O. Russell, 1996: 92 mins)
Johnson, Mackenzie. "What Makes David O. Russell so David O. Russell." Film Stage (October 17, 2016)
Fly Away Home (USA: Carroll Ballard, 1996: 107 mins)
Cone, Stephen. "Films for Children at the End of the World: An Appreciation of Carroll Ballard." Talkhouse (April 6, 2018)
Bursztynski, Maurice, et al. "Grace of My Heart." See Hear #14 (February 18, 2015) ["Alison Anders directed film from 1997, Grace of My Heart starring Ileana Douglas, Eric Stoltz, Matt Dillon and the always awesome John Turturro. It covers about 12 years in the life of Edna Buxton who has a dream to be a singer and a songwriter in a period when you were one or the other but not both. The film follows her ambitions, disappointments, love life, and song writing ambitions against the backdrop of the Sixties. While the film is fictitious, its characters are based on real life people like Carole King, Brian Wilson, (the late) Lesley Gore, and Phil Spector. The songs specially written for the film come from Joni Mitchell, Redd Kross and most famously Burt Bacharach & Elvis Costello. The team had a great time discussing the fashions, the hairstyles, the songs, the philandering, whether Carole King married Brian Wilson in an alternate reality, and whether we actually enjoyed the film."]
Gross, Anisse. "Mary Harron [SCREENWRITER, DIRECTOR]." Believer (March/April 2014)
Kapica, Stephen S. "The multivalent feminism of The Notorious Bettie Page." #55 (Fall 2013)
Jerry Maguire (USA: Cameron Crowe, 1996: 139 mins)
"Jerry Maguire." The Canon #4 (November 24, 2014)
La Promesse (Belgium/France/Luxembourg/Tunisia: Jean-Pierre Dardenne and Luc Dardenne, 1996: 94 mins)
Hughes, Darren. "#20: LaPromesse." Arts and Faith Top 100 Films (2011)
Sterritt, David. "The Promise World Cinema Directory (2013)
Mission Impossible (USA: Brian DePalma, 1996: 110 mins)
Mother (USA: Albert Brooks, 1996: 104 mins)
Laczkowski, Jim, et al. "Albert Brooks." Director's Club #129 (June 5, 2017)
Connolly, Matt. "Living in the Moment: Nénette et Boni." Reverse Shot #29 (2009)
Nightjohn (USA: Charles Burnett, 1996: 92 mins)
Charles Burnett Tribute | 2017 Governors Awards for the Academy of Motion Picture Arts & Sciences from Shola Lynch on Vimeo.
Liz, Luiza. "Peter Greenaway and the Language of Film." (Posted on Youtube: July 25, 2016)
The Portrait of a Lady (UK/USA: Jane Campion, 1996: 144 mins)
Chu, Jaime. "What's Not To Touch: Jane Campion's Intimacies." cléo 5.1 (2017)
Flores, Steven. "The Auteurs: Jane Campion." Cinema Axis (September 30, 2013)
Springer, Claudia. :Taken by Muslims: Captivity Narratives in The Lives of a Bengal Lancer and Prisoner of the Mountains." Jump Cut #53 (Summer 2011)
Red Hollywood (USA: Thom Anderson and Noël Burch, 1996: 118 mins)
Kizirian, Shari. "The Radical Left’s Hollywood Heyday: Airing out the films and ideas stifled by the Blacklist in Red Hollywood." Keyframe (May 1, 2016)
Scream (USA: Wes Craven, 1996: 103 mins)
Dawson, Mike. "Analysis: Is Scream a Parody, Pastiche, or Post Modern Thriller?" Left Field Cinema (February 27, 2009)
Muncer, Mike and Helen O'Hara. "Slashers Pt. 11: Scream (1996)." The Evolution of Horror (November 24, 2017)
Shine (Australia: Geoffrey Rush, 1996: 105 mins)
Suburbia (USA: Richard Linklater, 1996: 121 mins)
"O.J.: Made in America / Suburbia." Adjust Your Tracking #136 (August 2016)
When We Were Kings (USA: Leon Gast, 1996: 88 mins)
Hancock, James and Jacob Rivera. "The Sweet Science in Cinema." The Wrong Reel #129 (April 2016)
1997
Affliction (USA: Paul Schrader, 1997: 114 mins)
Hamilton, John R. "Paul Schrader." Senses of Cinema #56 (2010)
Alien: Resurrection (USA: Jean-Pierre Jeunet, 1997: 109 mins)
Subissati, Andrea and Alexandra West. "Alienation, Part 2: Alien 3 (1992) and Alien: Resurrection (1997)." Faculty of Horror (June 21, 2016)
Amistad (USA: Steven Spielberg, 1997: 155 mins)
Benedict, Steven. "The Techniques and Themes of Steven Spielberg." Vimeo (August 8, 2012)
Guerrero, Ed. "The Spectacle of Black Violence as Cinema." Cinematic Sociology: Social Life in Film. Los Angeles, CA: Sage, 2013: 89-103. [In BCTC Library PN1995.9 S6 C543 2013]
Kellner, Douglas. "The horrors of slavery and modes of representation in Amistad and 12 Years a Slave." Jump Cut #56 (Winter 2014/2015)
As Good As It Gets (USA: James L. Brooks, 1997: 139 mins)
Erickson, Karla A. "Service, Smiles, and Selves: Film Representations of Labor and the Sociology of Work." Cinematic Sociology: Social Life in Film. Los Angeles, CA: Sage, 2013: 180-193. [In BCTC Library PN1995.9 S6 C543 2013]
The Big One (USA/UK: Michael Moore, 1997: 97 mins)
Watson, Garry. "Michael Moore: A Man on a Mission or How Far a Reinvigorated Populism Can Take Us." Cineaction #70 (2006)
Breakdown (USA: Jonathan Mostow, 1997: 93 mins)
Lee, Kevin B. "Keith Uhlich’s Cinema Breakdown (Video)." Keyframe (July 10, 2013) ["If Uhlich’s sensibilities are startling, they are also immensely sincere: A close look at Jonathan Mostow’s BREAKDOWN and other cinematic traumas."]
Chasing Amy (USA: Kevin Smith, 1997: 113 mins)
Bromley, Patrick and Rob DiCristino. "Chasing Amy." F This Movie! (January 25, 2017)
Lucal, Betsy and Andrea Miller. "Working the Boundaries: Bisexuality and Transgender on Film." Cinematic Sociology: Social Life in Film. Los Angeles, CA: Sage, 2013: 162-174. [In BCTC Library PN1995.9 S6 C543 2013]
Children of Heaven (Iran: Majid Majidi, 1997: 89 mins)
Like Stories of Old. "Capturing the Intuitive Wisdom of Children: Children of Heaven." (Posted on Youtube: October 31, 2018)
Chile, The Obstinate Memory (Canada/France: Patricio Guzmán, 1997: 59 mins)
McNeil, Jeremiah, Brian Risselada and Tom Sutpen. "Patricio Guzmán's Battle (1975-1997)." Illusion Travels by Streetcar (January 14, 2016)
Contact (USA: Robert Zemeckis, 1997: 150 mins)
Koski, Genevieve, et al. "Contact / Arrival. Pt. 1." The Next Picture Show (November 29, 2016) ["This week, we look to the skies to consider two films about the difficulty of communication between worlds, and the inward journeys involved in looking to the stars. Inspired by Denis Villeneuve’s new ARRIVAL, we begin with an in-depth discussion of an earlier film with which it shares many thematic and narrative elements: Robert Zemeckis' 1997 Carl Sagan adaptation CONTACT. We consider the film’s ambition, dissect its blockbuster qualities, and try to determine what makes this unwieldy, emotional movie work so well, almost despite itself. (Spoiler: It’s mostly Jodie Foster.)"]
---. "Contact / Arrival, Pt. 2." The Next Picture Show (December 1, 2016) ["Our conversation about movies about talking to aliens moves to the present with Denis Villeneuve’s new ARRIVAL, which hits many of the same narrative points as CONTACT, but points them in a different emotional direction. We talk about our reactions to the newer film, and how its ideas about science, communication, and emotion compare with CONTACT’s."]
Cube (Canada: Vincenzo Natali, 1997: 90 mins)
Eig, Jonathan. "A Beautiful Mind(fuck) -- Hollywood Structures of Identity." Jump Cut #46 (2003)
Subissati, Andrea and Alexandra West. "Boxed In: Cube (1997)." Faculty of Horror #53 (September 24, 2017) ["Andrea and Alex tackle the mysterious and ever changing narrative landscape of Vincenzo Natali’s Canadian cult film, Cube (1997). From workers rights to torture porn to prime numbers, they try to solve it all before they succumb to the film’s traps and trappings."]
Cure (Japan: Kiyoshi Kurosawa, 1997: 111 mins)
Shine (Australia: Geoffrey Rush, 1996: 105 mins)
Insdorf, Annette. Cinematic Overtures: How to Read Opening Scenes. Columbia University Press, 2017. ["Your professor has a copy of this book."]
"O.J.: Made in America / Suburbia." Adjust Your Tracking #136 (August 2016)
When We Were Kings (USA: Leon Gast, 1996: 88 mins)
Hancock, James and Jacob Rivera. "The Sweet Science in Cinema." The Wrong Reel #129 (April 2016)
Affliction (USA: Paul Schrader, 1997: 114 mins)
Hamilton, John R. "Paul Schrader." Senses of Cinema #56 (2010)
Alien: Resurrection (USA: Jean-Pierre Jeunet, 1997: 109 mins)
Subissati, Andrea and Alexandra West. "Alienation, Part 2: Alien 3 (1992) and Alien: Resurrection (1997)." Faculty of Horror (June 21, 2016)
Amistad (USA: Steven Spielberg, 1997: 155 mins)
Benedict, Steven. "The Techniques and Themes of Steven Spielberg." Vimeo (August 8, 2012)
Guerrero, Ed. "The Spectacle of Black Violence as Cinema." Cinematic Sociology: Social Life in Film. Los Angeles, CA: Sage, 2013: 89-103. [In BCTC Library PN1995.9 S6 C543 2013]
Kellner, Douglas. "The horrors of slavery and modes of representation in Amistad and 12 Years a Slave." Jump Cut #56 (Winter 2014/2015)
As Good As It Gets (USA: James L. Brooks, 1997: 139 mins)
Erickson, Karla A. "Service, Smiles, and Selves: Film Representations of Labor and the Sociology of Work." Cinematic Sociology: Social Life in Film. Los Angeles, CA: Sage, 2013: 180-193. [In BCTC Library PN1995.9 S6 C543 2013]
The Big One (USA/UK: Michael Moore, 1997: 97 mins)
Watson, Garry. "Michael Moore: A Man on a Mission or How Far a Reinvigorated Populism Can Take Us." Cineaction #70 (2006)
Breakdown (USA: Jonathan Mostow, 1997: 93 mins)
Lee, Kevin B. "Keith Uhlich’s Cinema Breakdown (Video)." Keyframe (July 10, 2013) ["If Uhlich’s sensibilities are startling, they are also immensely sincere: A close look at Jonathan Mostow’s BREAKDOWN and other cinematic traumas."]
Chasing Amy (USA: Kevin Smith, 1997: 113 mins)
Bromley, Patrick and Rob DiCristino. "Chasing Amy." F This Movie! (January 25, 2017)
Lucal, Betsy and Andrea Miller. "Working the Boundaries: Bisexuality and Transgender on Film." Cinematic Sociology: Social Life in Film. Los Angeles, CA: Sage, 2013: 162-174. [In BCTC Library PN1995.9 S6 C543 2013]
Children of Heaven (Iran: Majid Majidi, 1997: 89 mins)
Like Stories of Old. "Capturing the Intuitive Wisdom of Children: Children of Heaven." (Posted on Youtube: October 31, 2018)
Chile, The Obstinate Memory (Canada/France: Patricio Guzmán, 1997: 59 mins)
McNeil, Jeremiah, Brian Risselada and Tom Sutpen. "Patricio Guzmán's Battle (1975-1997)." Illusion Travels by Streetcar (January 14, 2016)
Contact (USA: Robert Zemeckis, 1997: 150 mins)
Koski, Genevieve, et al. "Contact / Arrival. Pt. 1." The Next Picture Show (November 29, 2016) ["This week, we look to the skies to consider two films about the difficulty of communication between worlds, and the inward journeys involved in looking to the stars. Inspired by Denis Villeneuve’s new ARRIVAL, we begin with an in-depth discussion of an earlier film with which it shares many thematic and narrative elements: Robert Zemeckis' 1997 Carl Sagan adaptation CONTACT. We consider the film’s ambition, dissect its blockbuster qualities, and try to determine what makes this unwieldy, emotional movie work so well, almost despite itself. (Spoiler: It’s mostly Jodie Foster.)"]
---. "Contact / Arrival, Pt. 2." The Next Picture Show (December 1, 2016) ["Our conversation about movies about talking to aliens moves to the present with Denis Villeneuve’s new ARRIVAL, which hits many of the same narrative points as CONTACT, but points them in a different emotional direction. We talk about our reactions to the newer film, and how its ideas about science, communication, and emotion compare with CONTACT’s."]
Eig, Jonathan. "A Beautiful Mind(fuck) -- Hollywood Structures of Identity." Jump Cut #46 (2003)
Subissati, Andrea and Alexandra West. "Boxed In: Cube (1997)." Faculty of Horror #53 (September 24, 2017) ["Andrea and Alex tackle the mysterious and ever changing narrative landscape of Vincenzo Natali’s Canadian cult film, Cube (1997). From workers rights to torture porn to prime numbers, they try to solve it all before they succumb to the film’s traps and trappings."]
Cure (Japan: Kiyoshi Kurosawa, 1997: 111 mins)
When not looking after his ailing wife, police detective Takabe (Koji Yakusho) investigates a bizarre series of murders, all with a common signature but each carried out by different individuals who confess but are confused by their own motives. The multiple killers’ sense of perplexity pervades Kiyoshi Kurosawa’s mesmerising enigma, as his narrative becomes a conversation between criminology and psychology, with a nation’s repressed rage under consultation. In a style that is measured and unnervingly aloof, Kurosawa hypnotises the viewer into a state of uncertainty over where reality ends and delusion – individual or collective – begins. Nihilism is rarely so quiet. – Anton BitelKalat, David. "Kiyoshi Kurosawa is the Cure." Movie Morlocks (March 24, 2012)
Deconstructing Harry (USA: Woody Allen, 1997: 96 mins)
D'anna, Becky, James Hancock and Jacob Rivera. "Woody." Wrong Reel #205 (November 2016) ["Wide ranging discussion of his comedies prefaced by some clear analysis of his personal controversies"]
The Eel (Japan: Shohei Imamura, 1997: 117 mins)
Cribbs, John, Chris Funderberg and Martin Kessler. "Shohei Imamura." Flixwise (September 19, 2017) ["Martin Kessler is joined by Chris Funderberg and John Cribbs of thepinksmoke.com to discuss the films of two-time Palme d’Or award-wining director Shohei Imamura. They talk about his dark subject matter, his bleak point of view, the phases of his career, and his wild sense of humour. They discuss how Imamura has been handled by critics, compare him to New German Cinema, Luis Buñuel, and discuss why comparing him to other Japanese filmmakers may be misleading."]
Event Horizon (UK/USA: Paul W. S. Anderson, 1997: 96 mins)
Subissata, Andrea and Alexander West. "Stardust: Event Horizon (1997) and Sunshine (2007)." Faculty of Horror #61 (April 26, 2018) ["Andrea and Alex reach for the heavens and find the furthest reaches of hell with two films about space exploration and the darkness therein. Event Horizon and Sunshine explore the different reasons humankind would dare try to conquer space and the horrors that might await us there."]
Fast, Cheap & Out of Control (USA: Errol Morris, 1997: 80 mins)
Ayers, Drew R. "Vernacular Posthumanism: Visual Culture and Material Imagination." Department of Communication Dissertation, Georgia State University, 2012.
Szhou, Tony. "David Fincher - And the Other Way is Wrong." Every Frame a Painting (October 1, 2014)
Happy Together (Hong Kong/Japan/South Korea: Wong Kar Wai, 1997: 96 mins)
Flores, Steven. "The Auteurs: Wong Kar-Wai." Cinema Axis (January 5, 2014)
Henry Fool (USA: Hal Hartley, 1997: 137 mins)
Hancock, James and Marcus Pinn. "The Cinema of Hal Hartley." The Wrong Reel #149 (June 16, 2016)
The Ice Storm (USA: Ang Lee, 1997: 112 mins)
Eggert, Brian. "The Ice Storm (1997)." Deep Focus Review (November 21, 2017)
Amos, Steve, James Hancock, and Skye Wingfield. "25 Years of Quentin Tarantino." Wrong Reel #320 (September 2017)
L.A. Confidential (USA: Curtis Hanson, 1997: 138 mins)
"L.A. Confidential/The Nice Guys (Part 1)." The Next Picture Show #29 (May 31, 2016)
Leila (Iran: Dariush Mehrjui, 1997: 102 mins)
Hassania, Tina, Calum Marsh and Amir Soltani. "Reception of Iranian Cinema, with a Focus on Leila." Hello Cinema (April 24, 2014)
Life is Beautiful (Italy: Roberto Benigni, 1997: 116 mins)
"Service Guarantees Citizenship [with Kino Lefter]." Hammer & Camera #26 (February 1, 2020) ["Fascism... What is it? And more importantly, is it in movies? The answers to these questions and many more can be found in our twenty-sixth episode, which features Abdul, Laura, and Evan from the Kino Lefter podcast. We talk Life is Beautiful, JoJo Rabbit, Dragged Across Concrete, and Starship Troopers as representations and depictions of fascist movements, and inquire about their function and the responsibilities of the artist."]
Live Flesh (Spain: Pedro Almodovar, 1997: 103 mins)
Flores, Steven. "The Auteurs: Pedro Almodovar (Part 1)." Cinema Axis (September 29, 2014)
---. "The Auteurs: Pedro Almodovar (Part 2)." Cinema Axis (October 6, 2014)
---. "The Auteurs: Pedro Almodovar (Part 2)." Cinema Axis (October 6, 2014)
Made in Hong Kong (Hong Kong: Fruit Chan, 1997: 109 mins)
T., Susanna. "No Future! No Future!: Fruit Chan Speaks About Made in Hong Kong." Metrograph (March 4, 2020)
Spector, Lincoln. "John Sayles: Three to See." Keyframe (May 10, 2016)
Mimic (USA: Guillermo del Toro, 1997: 105 mins)
Heumann, Joseph and Robin Murray. "“As beautiful as a butterfly”?: Monstrous cockroach nature and the horror film." Jump Cut #56 (Winter 2014/2015)
My Best Friend's Wedding (USA: P.J. Hogan, 1997: 105 mins)
Bromley, Patrick and Margo Donohue. "My Best Friend's Wedding." F This Movie #371 (February 1, 2017)
Landekic, Lola. "My Best Friend's Wedding (1997)." The Art of the Title (August 16, 2016)
Open Your Eyes (Spain/France, Italy: Alejandro Amenábar, 1997: 117 mins)
Mooney, James. "Epistemology: Dreams and Demons -- Abre los ojos (Open your eyes)." Film and Philosophy (September 9, 2011)
Ossos (Portugal/France/Denmark: Pedro Costa, 1997: 94 mins)
McNeil, Jeremiah, et al. "Pedro Costa in Fontainhas (1997-2014)." Illusion Travels by Streetcar #93 (February 25, 2016)
Perfect Blue (Japan: Satoshi Kon, 1997: 81 mins)
Princess Mononoke (Japan: Hayao Miyasaki, 1997: 134 mins)
Jimenez, Simon. "The Labor of Creativity: Celebrating Hayao Miyazaki’s Princess Mononoke." Tor (August 28, 2020) ["And indeed one sees the world by his side, and not, as is the traditional POV, “through his eyes”, for this point speaks to one of Miyazaki’s hallmarks as an artist: his framing of his characters as living within a world greater than themselves. In his films, and Princess Mononoke especially, whose themes demand such attention, the natural background is as “foregrounded” as the characters that walk through it. Close ups are used sparingly. The stars of the show are the exquisite paintings of ancient forests and roiling rivers and rocks with texture and weight that imply the history of erosion and tectonic uplift. Wooden beams bound in loops of rope and which compose the uneven ladders that stretch up to precarious watchtowers that are built to such believable schematics. Drawings of such detail, we understood intuitively, on sight, that this world is real, and populated by people of history, and objects of context. It is context that gives his work power. A person is as much defined by their actions as they are by the society they live in, and the geographic plane they travel through, or harvest."]
Brailsford, Zachary Phillip, et al. "Tsai Ming-liang." Syndromes and a Cinema (August 28, 2011)
Rosewood (USA: John Singleton, 1997: 140 mins)
Guerrero, Ed. "The Spectacle of Black Violence as Cinema." Cinematic Sociology: Social Life in Film. Los Angeles, CA: Sage, 2013: 89-103. [In BCTC Library PN1995.9 S6 C543 2013]
Rossini (Germany: Helmut Dietl, 1997: 114 mins)
Brockmann, Stephen. "Rossini (1997) or West German Self-Absorption Criticized." A Critical History of German Film Rochester, NY: Camden House, 2010: 446-455. [Professor has copy of the book]
South Park (Comedy Channel: Trey Parker, Matt Stone and Brian Graden, 1997 - )
Spice World (UK: Bob Spiers, 1997: 93 mins)
Cargill, Robert C. and Brian Salisbury. "Spice World." Junk Food Cinema (November 8, 2015) ["Brian & Cargill tell you why you want why you really really want to revisit Spice World. No, we’re not kidding. The guys’ two minds become one as they explain the exceptional satire of this bugnuts vehicle for Britain’s premier girl group of the late 90s. They touch upon the self-effacing humor, the cavalcade of cameos, and why Spice World at least belongs in the same conversation as Purple Rain and A Hard Day’s Night."]
Starship Troopers (USA: Paul Verhoeven, 1997: 129 mins)
"Service Guarantees Citizenship [with Kino Lefter]." Hammer & Camera #26 (February 1, 2020) ["Fascism... What is it? And more importantly, is it in movies? The answers to these questions and many more can be found in our twenty-sixth episode, which features Abdul, Laura, and Evan from the Kino Lefter podcast. We talk Life is Beautiful, JoJo Rabbit, Dragged Across Concrete, and Starship Troopers as representations and depictions of fascist movements, and inquire about their function and the responsibilities of the artist."]
Mayer, Sophie. "Where We Are Is Here: On the Influence of Female Filmmakers." Another Gaze (March 14, 2016)
Robinson, Matty, et al. "Abbas Kiarostami: The Filmspotting Reviews." Filmspotting (July 20, 2016)
Kuersten, Erich. "Quilty Makes This World: 12 Tricksters (CinemArchetype #1)." Acidemic (January 23, 2012)
1998
After Life (Japan: Hirokazu Koreeda, 1998: 118 mins)
Kogonada. "The world according to Koreeda: How Japan’s modern master revives our taste for everyday life." Sight and Sound (January 9, 2014)
American History X (USA: Tony Kaye, 1998: 119 mins)
McFarland, Carey. "American History X (1998)." Philosophical Films (ND)
Armaggedon (USA: Michael Bay, 1998: 151 mins)
Blakeslee, David, Ryan Gallagher and James McCormick. "Michael Bay's Armaggedon." Criterion Cast #172 (June 4, 2016)
Beloved (USA: Jonathan Demme, 1998: 172 mins)
Cone, Stephen, et al. "This American Life - Remembering Jonathan Demme." The Cinephiliacs (May 4, 2017) ["Jonathan Demme began his film career 50 years ago while working for Joseph Levine's production company in 1967, carving a path that resembled no other director in American film. His narrative films ranged from the grindhouse to Oscar prestige pictures to indies and more. Beyond fiction, he made documentaries about musicians and politics, music videos for the coolest bands, and a number of television episodes that gave life to the so-called writer's medium. While the word humanist gets thrown around carelessly, Demme deserved that term for the worlds his films enveloped and the generosity he showed each and every character while often creating an implied utopian vision of diversity. This special episode mourns the death of one of the great directors, as Peter invites on Jake Mulligan and Willow Maclay to discuss the multifaceted career of a director destined to cement a place in the canon. Plus, we revisit that oft-discussed director with three Double Exposure discussions with former guests."]
Fairyington, Stephanie. "Two Decades After Brandon Teena's Murder, a Look Back at Falls City: Eager to come to terms with his department's tragic mishandling of the rape that led to the murder on New Year's Eve in 1993, a small-town sheriff welcomes LGBT-sensitivity training." The Atlantic (December 31, 2013)
The City (La Ciudad) (USA: David Riker, 1998: 88 mins)
Insdorf, Annette. Cinematic Overtures: How to Read Opening Scenes. Columbia University Press, 2017. ["Your professor has a copy of this book."]
Dark City (Australia/USA: Alex Proyas, 1998: 100 mins)
Tafoya, Scout. "The Post-Punk Cinema Manifesto." Keyframe (September 10, 2015)
Eternity and a Day (Greece/France/Germany/Italy: Theodoros Angelopoulos, 1998: 137 mins)
Horton, Andrew. "The Greek and Balkan Spirit of Comedy During the Journeys with the Films of Theo Angelopoulos." Greek Cinema and Films About Greece (2012)
Ever After: A Cinderella Story (USA: Andy Tennant, 1998: 121 mins)
Coffin, Lesley. "Despite Its Flaws, Ever After Holds Up As A Magical Cinderella Story." The Mary Sue (March 16, 2015)
Following (UK: Christopher Nolan, 1998: 69 mins)
Beyl, Cameron. "Christopher Nolan [5.1] – The Non-Linear Neo-Noirs." The Director Series (February 13, 2017)
Happiness (USA: Todd Solondz, 1998: 134 mins)
Swinney, Jacob T. "12 Essential Women Cinematographers." Keyframe (August 10, 2016)
Brailsford, Zachary Phillip, et al. "Tsai Ming-liang." Syndromes and a Cinema (August 28, 2011)
I Stand Alone (France: Gaspar Noé, 1998: 93 mins)
Morgan, Kim. "You Have 30 Seconds to Leave the Theater" - Gaspar Noe's I Stand Alone." International Film Studies #6 (2010)
The Last Days of Disco (USA: Whit Stillman, 1998: 113 mins)
Smith, Justine, et al. "Spotlight + Interview – Director Whit Stillman (‘Damsels In Distress,’ ‘The Last Days of Disco’)." Sound on Sight #319 (May 3, 2012)
Lick the Star (USA: Sofia Coppola, 1998: 14 mins)
Spencer, Michelle. "Three Visual Patterns in Sofia Coppola's Films." A Place for Film (June 1, 2017)
Megacities (Austria/Switzerland: Michael Glawogger, 1998: 90 mins)
Möller, Olaf. "The World Viewed, Part 1: The globe-spanning, category-defying works of Michael Glawogger." Moving Image Source (April 17, 2012)
---. "The World Viewed, Part 2: The globe-spanning, category-defying works of Michael Glawogger." Moving Image Source (April 18, 2012)
Primary Colors (UK/France/Germany/Japan/USA: Mike Nichols, 1998: 143 mins)
"Primary Colors (1998)." The Dana Buckler Show (November 13, 2018)
Soderbergh, Steven. "Psychos." Extension 765 (Mashup of the two version of Psycho: February 24, 2014)
Run Lola Run (Germany: Tom Tykwer, 1998: 80 mins)
Pi (USA: Darren Aronofsky, 1998: 84 mins)
"Darren Aronofsky." Director's Club #127 (April 7, 2017)
Saving Private Ryan (USA: Steven Spielberg, 1998: 169 mins)
Benedict, Steven. "The Techniques and Themes of Steven Spielberg." Vimeo (August 8, 2012)
Laity, Adam. "The Role of Landscape, Nature and Environment in War Films." (Posted on Vimeo: 2012)
Secret Défense (France: Jacques Rivette, 1998: 170 mins)
Klevan, Andrew. "Expressing the In-Between." Senses of Cinema #1 (2011)
Rapfogel, Jared. Secret Défense Senses of Cinema #10 (2000)
The Sex Thief (Germany: Christian Petzold, 1998: 85 mins)
Mahan, William. "Ghosts and their Prices: Surveillance and Image Economies in Christian Petzold’s Cinema." Senses of Cinema #84 (September 2017) ["This essay examines Christian Petzold’s lesser-known, early films of the 90s in their depiction of the German economy’s impact on individuals’ image-perception and then takes up his better-known film Die innere Sicherheit (The State I Am In, 2000) to trace a change in what can be thought of as image economies. It considers Petzold’s use of surveillance footage in the representation of images which are ascribed value and exchanged in economies that at times come up against relationships of solidarity between characters. While Petzold’s early films Pilotinnen (Pilots, 1995) and Die Beischlafdiebin (The Sex Thief, 1998) depict the struggle and exploitation of female workers within the German economy as well as the solidarity formed in the resistance against these forces, Petzold shifts in the early 2000s in The State I Am In to a larger scale examination of surveillance image economies that extend to the state. The film follows a family with presumed historical ties to the RAF, attempting in the present to remain under the radar. Once again, Petzold investigates relationships of solidarity threatened by image economies, though now with an eye directed towards the transfer of data to and use of surveillance footage by the state. Petzold’s trajectory appears to suggest an increasingly depersonalised society in general, (re)affirming Jonathan Beller’s argument for the increasing gravity of the image for both society and individuals. In addition, Petzold seems to addend Beller’s notions of proto-images and exploitation with a hopeful possibility that, ultimately, humans can win out over these forces through maintained solidarity."]
Sitcom (France: Francois Ozon, 1998: 85 mins)
Flores, Steven. "The Auteurs: Francois Ozon." Cinema Axis (May 20, 2014)
Smoke Signals (Canada/USA: Chris Eyre, 1998: 89 mins)
Framing the Picture: Smoke Signals and Why Representation Behind the Camera Matters from Matt Marlin on Vimeo.
What Dreams May Come (USA/New Zealand: Vincent Ward, 1998: 116 mins)
Buckler, Dana. "Robin Williams Retrospective." How Is This Movie? (May 30, 2017)
Whispering Corridors (South Korea: Ki-hyeong Park, 1998: 105 mins)
Choi, Jinchee. "A Cinema of Girlhood: Sonyeo Sensibility and the Decorative: Impulse in the Korean Horror Cinema." Horror to the Extreme: Changing Boundaries in Asian Cinema. ed. Jinhee Choi & Mitsuyo Wada-Marciano. Hong Kong University, 2009: 39-56.
1999
8 1/2 Women (UK/Netherlands/Luxembourg/Germany: Peter Greenaway, 1999: 118 mins)
The Cider House Rules (USA: Lasse Hallström, 1999: 126 mins)
D., Margo and Margo P. "The Cider House Rules." Book vs Movie (January 9, 2018)
Criminal Lovers (France: Francois Ozon, 1999: 96 mins)
Flores, Steven. "The Auteurs: Francois Ozon." Cinema Axis (May 20, 2014)
East is East (UK: Damien O'Donnell, 1999: 96 mins)
Futurama (Comedy Central: David X. Cohen and Matt Groening, 1999 - 2013)
Cohen, David X. "FUTURAMA’S RESIDENT PHYSICS NERD ON MATH JOKES AND RICHARD NIXON." The Geek's Guide to the Galaxy (September 27, 2014)
Girl Interrupted (USA/Germany: James Mangold, 1999: 127 mins)
D. Margo and Margo P. "Girl Interrupted." Book vs Movie (Jan 28, 2018) ["Are you ready to learn a whole lot about Borderline Personality Disorder? You better damn well be because the Margos sure did after reading Girl Interrupted and man we just LOVE this book and movie discussion! We start off talking about the recent Women’s Marches and then get right into the nitty-gritty of Susanna Kaysen’s (our author’s) interesting background and the history of the McLean Hospital who past residents include Sylvia Plath, James Taylor, Ray Charles and David Foster Wallace. She stayed there between 1967-1968 and wrote this book in 1993. Actress Winona Ryder (just 21 years old at the time) bought the movie rights and waited several years to see her passion project become the star vehicle for multi-award winner Angelina Jolie (oops!) We read the book and then watched the movie. Which did the Margos like better?"]
Holy Smoke (USA/Australia: Jane Campion, 1999: 115 mins)
Flores, Steven. "The Auteurs: Jane Campion." Cinema Axis (September 30, 2013)
Human Resources (France/United Kingdom: Laurent Cantet, 1999: 100 mins)
Livingston, Jessica. "Global capital’s false choices in the films of Laurent Cantet." Jump Cut #53 (Summer 2012)
The Hurricane (USA: Norman Jewison, 1999: 146 mins)
Zirin, Dave. "On the Death and Life's Work of the Unconquerable Rubin 'Hurricane' Carter." TruthOut (April 22, 2014)
Instrument (Italy/USA: Jem Cohen, 1999: 115 mins)
"Jem Cohen." Filmwax Radio #210 (May 7, 2014) ["I chat at length with filmmaker Jem Cohen. Two of Cohen’s films are currently available on Fandor including his most recent film, a narrative feature called Museum Hours. The film concerns a Vienna museum guard who befriends an enigmatic visitor. The grand Kunsthistorisches Art Museum becomes a mysterious crossroads which sparks explorations of their lives, the city, and the ways artworks reflect and shape the world. Cohen’s other available film is a documentary collaboration with the Washington, DC-based punk band, Fugazi. That project spanned over 10 years of the band’s life and, not only caught great musical moments, but also candid ones that illustrate why the band has intentionally remained on the fringes of the music industry. Cohen takes me back to the earliest days of his career, describing his years studying at Wesleyan University and eventually settling into New York City during the height of the punk scene. Additionally, Jem cites the seminal French documentarian, Chris Marker, as a major influence in his career. "]
Lee, Kevin. B. "Jem Cohen's Ground Level Artistry." Keyframe (Posted on Vimeo: June 26, 2013)
The Iron Giant (USA: Brad Bird, 1999: 86 mins)
Jin Roh: The Wolf Brigade (Japan: Hiroyuki Okiura, 1999: 102 mins)
El Goro. "Dallos (1983) and Jin-Roh: The Wolf Brigade (1999)." Talk Without Rhythm (May 7, 2017)
The Limey (USA: Steven Soderbergh, 1999: 89 mins)
Flores, Steven. "The Auteurs: Steven Soderbergh (Part 1)." Cinema Axis (December 6, 2014)
---. "The Auteurs: Steven Soderbergh (Part 2)." Cinema Axis (December 7, 2014)
Mr. Death: The Rise and Fall of Fred A. Leuchter, Jr. (UK/USA: Errol Morris, 1999: 91 mins)
Palmer, Landon. "6 Filmmaking Tips From Errol Morris." Film School Rejects (September 25, 2013)
Nowhere to Hide (South Korea: Lee Myung-Se, 1999: 112 mins)
D'Angelo, Mike. "Nowhere to Hide." A.V. Club (July 27, 2009)
Pola X (France/Switzerland/Germany/Japan: Leos Carax, 1999: 134 mins)
Flores, Steven. "The Auteurs: Leos Carax." Cinema Axis (August 19, 2014)
Ratcatcher (UK/France: Lynne Ramsey, 1999: 94 mins)
López, Cristina Álvarez. "Ratcatcher: Tell Me Where It Hurts." Keyframe (April 7, 2015)
Benedict, Steven. "The Techniques and Themes of Steven Spielberg." Vimeo (August 8, 2012)
Laity, Adam. "The Role of Landscape, Nature and Environment in War Films." (Posted on Vimeo: 2012)
Secret Défense (France: Jacques Rivette, 1998: 170 mins)
Klevan, Andrew. "Expressing the In-Between." Senses of Cinema #1 (2011)
Rapfogel, Jared. Secret Défense Senses of Cinema #10 (2000)
The Sex Thief (Germany: Christian Petzold, 1998: 85 mins)
Mahan, William. "Ghosts and their Prices: Surveillance and Image Economies in Christian Petzold’s Cinema." Senses of Cinema #84 (September 2017) ["This essay examines Christian Petzold’s lesser-known, early films of the 90s in their depiction of the German economy’s impact on individuals’ image-perception and then takes up his better-known film Die innere Sicherheit (The State I Am In, 2000) to trace a change in what can be thought of as image economies. It considers Petzold’s use of surveillance footage in the representation of images which are ascribed value and exchanged in economies that at times come up against relationships of solidarity between characters. While Petzold’s early films Pilotinnen (Pilots, 1995) and Die Beischlafdiebin (The Sex Thief, 1998) depict the struggle and exploitation of female workers within the German economy as well as the solidarity formed in the resistance against these forces, Petzold shifts in the early 2000s in The State I Am In to a larger scale examination of surveillance image economies that extend to the state. The film follows a family with presumed historical ties to the RAF, attempting in the present to remain under the radar. Once again, Petzold investigates relationships of solidarity threatened by image economies, though now with an eye directed towards the transfer of data to and use of surveillance footage by the state. Petzold’s trajectory appears to suggest an increasingly depersonalised society in general, (re)affirming Jonathan Beller’s argument for the increasing gravity of the image for both society and individuals. In addition, Petzold seems to addend Beller’s notions of proto-images and exploitation with a hopeful possibility that, ultimately, humans can win out over these forces through maintained solidarity."]
Flores, Steven. "The Auteurs: Francois Ozon." Cinema Axis (May 20, 2014)
Smoke Signals (Canada/USA: Chris Eyre, 1998: 89 mins)
Framing the Picture: Smoke Signals and Why Representation Behind the Camera Matters from Matt Marlin on Vimeo.
Buckler, Dana. "Robin Williams Retrospective." How Is This Movie? (May 30, 2017)
Choi, Jinchee. "A Cinema of Girlhood: Sonyeo Sensibility and the Decorative: Impulse in the Korean Horror Cinema." Horror to the Extreme: Changing Boundaries in Asian Cinema. ed. Jinhee Choi & Mitsuyo Wada-Marciano. Hong Kong University, 2009: 39-56.
1999
8 1/2 Women (UK/Netherlands/Luxembourg/Germany: Peter Greenaway, 1999: 118 mins)
Liz, Luiza. "Peter Greenaway and the Language of Film." (Posted on Youtube: July 25, 2016)
American Beauty (USA: Sam Mendes, 1999: 122 mins)
Lessons From the Screenplay. "American Beauty: The Art of the Character (Part 1)." (Posted on Youtube: July 26, 2016)
Sociocinema. "American Beauty Film Analysis: The Sociology of Identity." (Posted on Youtube: May 18, 2020) ["In this film analysis of American Beauty, I outline how our sense of identity is influenced by wider social forces. Using insights from sociology and Charles Cooley's theory of the Looking Glass Self, I explore how each character in American Beauty views themselves through the looking glass of society."]
The Cider House Rules (USA: Lasse Hallström, 1999: 126 mins)
D., Margo and Margo P. "The Cider House Rules." Book vs Movie (January 9, 2018)
Flores, Steven. "The Auteurs: Francois Ozon." Cinema Axis (May 20, 2014)
East is East (UK: Damien O'Donnell, 1999: 96 mins)
Futurama (Comedy Central: David X. Cohen and Matt Groening, 1999 - 2013)
Cohen, David X. "FUTURAMA’S RESIDENT PHYSICS NERD ON MATH JOKES AND RICHARD NIXON." The Geek's Guide to the Galaxy (September 27, 2014)
Girl Interrupted (USA/Germany: James Mangold, 1999: 127 mins)
D. Margo and Margo P. "Girl Interrupted." Book vs Movie (Jan 28, 2018) ["Are you ready to learn a whole lot about Borderline Personality Disorder? You better damn well be because the Margos sure did after reading Girl Interrupted and man we just LOVE this book and movie discussion! We start off talking about the recent Women’s Marches and then get right into the nitty-gritty of Susanna Kaysen’s (our author’s) interesting background and the history of the McLean Hospital who past residents include Sylvia Plath, James Taylor, Ray Charles and David Foster Wallace. She stayed there between 1967-1968 and wrote this book in 1993. Actress Winona Ryder (just 21 years old at the time) bought the movie rights and waited several years to see her passion project become the star vehicle for multi-award winner Angelina Jolie (oops!) We read the book and then watched the movie. Which did the Margos like better?"]
Holy Smoke (USA/Australia: Jane Campion, 1999: 115 mins)
Flores, Steven. "The Auteurs: Jane Campion." Cinema Axis (September 30, 2013)
Human Resources (France/United Kingdom: Laurent Cantet, 1999: 100 mins)
Livingston, Jessica. "Global capital’s false choices in the films of Laurent Cantet." Jump Cut #53 (Summer 2012)
The Hurricane (USA: Norman Jewison, 1999: 146 mins)
Zirin, Dave. "On the Death and Life's Work of the Unconquerable Rubin 'Hurricane' Carter." TruthOut (April 22, 2014)
Instrument (Italy/USA: Jem Cohen, 1999: 115 mins)
"Jem Cohen." Filmwax Radio #210 (May 7, 2014) ["I chat at length with filmmaker Jem Cohen. Two of Cohen’s films are currently available on Fandor including his most recent film, a narrative feature called Museum Hours. The film concerns a Vienna museum guard who befriends an enigmatic visitor. The grand Kunsthistorisches Art Museum becomes a mysterious crossroads which sparks explorations of their lives, the city, and the ways artworks reflect and shape the world. Cohen’s other available film is a documentary collaboration with the Washington, DC-based punk band, Fugazi. That project spanned over 10 years of the band’s life and, not only caught great musical moments, but also candid ones that illustrate why the band has intentionally remained on the fringes of the music industry. Cohen takes me back to the earliest days of his career, describing his years studying at Wesleyan University and eventually settling into New York City during the height of the punk scene. Additionally, Jem cites the seminal French documentarian, Chris Marker, as a major influence in his career. "]
Lee, Kevin. B. "Jem Cohen's Ground Level Artistry." Keyframe (Posted on Vimeo: June 26, 2013)
The Iron Giant (USA: Brad Bird, 1999: 86 mins)
El Goro. "Dallos (1983) and Jin-Roh: The Wolf Brigade (1999)." Talk Without Rhythm (May 7, 2017)
The Limey (USA: Steven Soderbergh, 1999: 89 mins)
Flores, Steven. "The Auteurs: Steven Soderbergh (Part 1)." Cinema Axis (December 6, 2014)
---. "The Auteurs: Steven Soderbergh (Part 2)." Cinema Axis (December 7, 2014)
Palmer, Landon. "6 Filmmaking Tips From Errol Morris." Film School Rejects (September 25, 2013)
Nowhere to Hide (South Korea: Lee Myung-Se, 1999: 112 mins)
D'Angelo, Mike. "Nowhere to Hide." A.V. Club (July 27, 2009)
Pola X (France/Switzerland/Germany/Japan: Leos Carax, 1999: 134 mins)
Flores, Steven. "The Auteurs: Leos Carax." Cinema Axis (August 19, 2014)
López, Cristina Álvarez. "Ratcatcher: Tell Me Where It Hurts." Keyframe (April 7, 2015)
Ravenous (UK/Mexico/USA/Czech Republic: Antonia Bird, 1999: 101 mins)
Subisatti, Andrea and Alexandra West. "Man Eater: Ravenous (1999)." Faculty of Horror #70 (February 25, 2019) ["Andrea and Alex head West to explore the notions of Manifest Destiny and the Frontier Myth in Antonia Bird’s Ravenous. Combining historical context through a modern gaze, Ravenous proves you are who you eat."]
Romance (France: Catherine Breillat, 1999: 84 mins)
Hudson, David. "Sex in the Movies." Green Cine (2005)
Gamman, Lorraine. "If Looks Could Kill: On gangster suits and silhouettes." Moving Image Source (May 8, 2012)
Sakharov, Alik. "The Sopranos - Pt. 1." and "The Sopranos - Pt. 2." American Cinematographer (No Date)
Star Wars: The Phantom Menace (USA: George Lucas, 1999: 136 mins)
Pride, Ray. "Review Flashback: Star Wars: Episode I – The Phantom Menace." New City Film (December 14, 2015)
Summer of Sam (USA: Spike Lee, 1999: 142 mins)
Flory, Dan. "The Epistemology of Race and Black American Film Noir: Summer of Sam as Lynching Parable." Film and Knowledge ed. Kevin L. Stoehr. Mcfarland, 2002: 174-190.
The Talented Mr. Ripley (USA: Anthony Minghella, 1999: 139 mins)
Koski, Genevieve, et al. "Call Me By Your Name / The Talented Mr. Ripley (1999), Part 1." The Next Picture Show #108 (December 26, 2017) ["The new CALL ME BY YOUR NAME’s gorgeous invocation of Italian summers and repressed desire brought to mind an earlier film that does the same, though to much darker ends: Anthony Minghella’s 1999 film THE TALENTED MR. RIPLEY, starring top-of-their-games Matt Damon, Jude Law, Philip Seymour Hoffman, and Gwyneth Paltrow. In this half of the discussion, we dig into what all three of those actors bring to their respective roles, as well as the additions Minghella brings to his adaptation of Patricia Highsmith’s novel — including a pivotal character created for the film — and how he manages the film’s tricky tone. "]
---. "Call Me By Your Name / The Talented Mr. Ripley (1999), Part 2." The Next Picture Show #109 (December 28, 2017) ["We return to the consideration of pleasure and heartbreak under the Italian sun via Luca Guadagnino’s sensual new romance CALL ME BY YOUR NAME, a film with a very different narrative than THE TALENTED MR. RIPLEY that nonetheless shares some of its major characteristics. After sharing our reactions to CMBYN, we dive into a discussion of what the two films share, and don’t, in their portrayals of life in (and a little bit out of) the closet, their approach to the Italian/American cultural divide, and their use of music as an emotional and thematic underpinning."]
Three Kings (USA/Australia: David O. Russell, 1999: 114 mins)
Johnson, Mackenzie. "What Makes David O. Russell so David O. Russell." Film Stage (October 17, 2016)
The Woman Chaser (USA: Robinson Devor, 1999: 90 mins)
"The Woman Chaser." The Projection Booth #38 (November 23, 2011)
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