As a teacher-scholar, Courtney Brannon Donoghue observes how the Toronto International Film Festival (TIFF) serves as a microcosm for understanding contemporary media industries where activities span production, distribution, and exhibition as well as reflect the evolving nature of film festivals.
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Mary Beth Haralovich reports on her experience at the Telluride Film Festival.
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The newly rebranded GeekyCon fan convention struggles to reconcile commerce and community, negotiate the inclusion of more white (cis) men in a heretofore female/queer environment, and create a "positive" fan environment that still leaves room for dissent.
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Magic Mike XXL adds new iconography to the intersectionally raced, gendered, and very classed pleasures found within the women's film through its attention to the centrality of women's sexual desires vis-à-vis the deployment of male bodies who serve to maintain that pleasure.
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The Mad Max series continues to be a cult classic, in part because it re-appropriates the western and the road movie and redeploys them to create an environmentally catastrophic vision of a future that we could create.
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Li Cornfeld considers the technofuturism and Cold War nostalgia in "Tomorrowland," in light of the Walt Disney Company’s own corporate departure from space age optimism.
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Post by Debra Ramsay, Research Associate, Technologies of Memory Project, Glasgow University Following is the second installment in the series of fortnightly blogs “From Nottingham and Beyond,” featuring contributions from faculty in the University of Nottingham’s Department of Culture, Film and Media and our alumni working in higher education or media industries in the U.K. and abroad. This week’s...
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Interstellar (2014) made its well-known debut last weekend. In Chicago, the film (yes, we can still call it that) screened in its “intended” format of 70mm at the Navy Pier IMAX. Its appearance there and at other such venues was predictably celebrated by old school cinephiles as yet another defiant declaration of celluloid’s continuing...
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This series on the NYFF52 concludes with consideration for Foxcatcher, Tales of the Grim Sleeper, and Clouds of Sils Maria.
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Dina Khdair analyzes the conflict between interior and exterior in Highway and Queen.
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This year a number of the initial screenings have left me wondering whether they can conceivably get any better.
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The fusion of cinema, television, and personality has critics resounding with near-universal praise for Cinemax's The Knick, resulting in a very heavy ride on the Steven Soderbergh bandwagon.
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Why do critics claim that only "fanboys" can make sense of Guardians of the Galaxy?
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This second installment of "I, Reboot" dives into the origins of the reboot-as-narrative-analogy and distinguishes "reboot" from "ret-con."
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What is a reboot, then? This is the overarching question of this series of articles and one which I have been wrestling with for six years or so.
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