By Casey Harison
Vsevolod Pudovkin’s The End of St. Petersburg (1927) and Jean Renoir’s La Marseillaise (1938) are beautifully filmed and timeless stories that continue to hold the attention of the viewer almost a century after they were made.
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By Lora Sariaslan
The first section of Nilbar Güreş’s video Stranger (Yabancı, 2004-2006), titled “Person of Cloth” (fig. 1), documents a woman on the Vienna subway covered in blue and red floral cloth that wraps her body completely with a traditional Turkish black scarf (yazma) on her head.
By Maria Stehle and Beverly Weber
About halfway through Faraz Shariat’s debut film, No Hard Feelings, Banafshe is notified that her asylum claim has been rejected while her brother will be permitted to stay.
By İpek A. Çelik Rappas, Michael Gott, and Randall Halle
From the earliest days of film as a sideshow attraction to the present multiplatform mode of reception, moving images in Europe—in their broadest sense—have been imagining communities in various forms.
Curated by Nicole Shea
Each cinema hall is its own self-contained world with clearly defined boundaries, in colourful dialogue with the interior.
By the EuropeNow Editorial Committee
Here is this month’s editor’s pick from Research Editorial Committee members Temenuga Trifonova and Hélène B. Ducros.
Reviewed by Adam Cook
As sites of neoliberal formation, German’s national cinemas contain complex negotiations between societal and creative forces
By Temenuga Trifonova
In the first part of the course we will consider some examples of post-1960 European art cinema; in the second part we will turn our attention to questions of personal and…
Translated by Valerie Miles
The sudden commotion, the sound of the motor, they displace you, leaving me alone; I concentrate on the movement of my hands now, gripping the wheel…
