My Scientology Movie avoids taking cheap shots at one of America’s most mockable religions; instead it is a fair, revealing (and sometimes funny) look at Scientology’s methods and leadership.
L’expertise universitaire, l’exigence journalistique
Articles sur Film
Affichage de 621 à 640 de 1037 articles
What happens when games and social media infiltrate society to the point that we all become avatars and anonymous usernames?
With #BlackLivesMatter and a never-ending list of African Americans being killed by police, the film ‘Do The Right Thing’ is even more relevant now than when it was released 27 years ago.
The superhero film currently appears to be the closest thing to that ever-elusive cinematic holy grail: the guaranteed box office hit.
Public discourse and commentary are generally blind to the massive contribution that local sport contributes to social connectedness.
What makes a film a classic? In a new monthly column, film scholar Bruce Isaacs analyses a single sequence from a great film. Here, we look at a scene from Vertigo.
The Netflix series Stranger Things is a throwback to the glory days of cinematic horror. And as VHS disappears from our shelves, this show’s 80s-infused nostalgia is doubly poignant.
Janis Joplin was once voted the ‘Ugliest Man on Campus’. Sharon Jones was told she was ‘too old, too fat, too short, too black’ to succeed in music. Two documentaries chart the lives of these extraordinary women.
A philosophical assessment of the latest Star Trek films demonstrates their sophistication.
The male coming of age tale Down Under is set in the aftermath of the 2005 Cronulla riots. But while entertaining, the film doesn’t help us understand the racism at the heart of these traumatic events.
Ridley Scott’s ‘Blade Runner’ has transcended its sci-fi/hardboiled noir detective thriller formula to spawn a dedicated cult following.
Female sexuality is a powerful, enchanting force in narratives ranging from fairytales to a modern Turkish film. Mustang reminds us that sometimes education can be an alternative to death or marriage.
The film Bastille Day – featuring a CIA agent trying to avert a terror attack in Paris – has been withdrawn from French cinemas after the tragedy in Nice. But what are we to make of Hollywood’s fondness for these kinds of stories?
What viewing on the International Space Station tells us about life among the stars.
Contrary to popular belief, several recent studies suggest that plot spoilers don’t always make us like a film or books less – and may even make us like it more.
Warcraft: the Beginning is based on the wildly popular game World of Warcraft – a fantasy escape for tens of millions of people. Yet watching the film brings home uncomfortable truths about race.
For art to imitate life is understandable, but politics inspired by films can be a recipe for disaster.
Rebecca Miller’s latest film, Maggie’s Plan, takes on a love triangle and the tribal customs of academia.
In the wake of Brexit, the UK film industry is set to lose funding, access to a huge distribution network, and possibly the European talent pool. For an example of the havoc this could cause, look no further than the former Soviet Union.
The world is simply a much scarier and more uncertain place than it was in 1996. How does the new Independence Day film deal with this?
Les contributeurs les plus fréquents
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Lecturer in Communications and Media, University of Notre Dame Australia
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Associate Professor, Film Studies, University of Sydney
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Lecturer, Department of Film and Television Studies, University of Warwick
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Senior Lecturer in Screen Studies, University of South Australia
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Professor of Film Studies, Bangor University
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Professor of Screen and Design, Deakin University
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Visiting Research Fellow University of Chester, University of Chester
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Researcher and Sessional Tutor in Screen and Cultural Studies; Secretary for the Melbourne Cinematheque, The University of Melbourne
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Professor & Dean, School of Media and Communication, RMIT University
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Senior Lecturer in Film, University of Roehampton
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Professor of Film and Television, Goldsmiths, University of London
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Executive Director, Compton School
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Professor of Film and Screen Studies, University of Portsmouth
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Senior Lecturer in Film, UNSW Sydney
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Lecturer in 20th and 21st Century Literature, University of Exeter
