Podcasts about Cinephilia

Hosts Katie Walsh and Blake Howard bring our faves Jordan Harper and Travis Woods together to walk through the hospital parking lot, to conclude this beautiful, chaotic, horny mission.Jordan HarperJordan Harper is the Edgar-Award winning author of SHE RIDES SHOTGUN, THE LAST KING OF CALIFORNIA, EVERYBODY KNOWS and the short story collection LOVE AND OTHER WOUNDS.Travis Woods (Host of INCREMENT VICE)Travis Woods is a Contributing Editor at Bright Wall/Dark Room, as well as a writer for The New Beverly Cinema and Cinephilia & Beyond.Join our Patreon for as little as $1 a month for an exclusive weekly podcast + access to the OHM discord here.ONE HEAT MINUTE PRODUCTIONSWEBSITE: ONEHEATMINUTE.COMPATREON: ONE HEAT MINUTE PRODUCTIONS PATREONTWITTER: @ONEBLAKEMINUTE & @KATIEWALSHSTX & @OHMPODSSupport this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Join host Blake Howard and a handpicked team of film experts as they ambush John Frankenheimer's RONIN (1998). Over 12 episodes, they'll explore the mysteries of the briefcase MacGuffin, praise co-writer David Mamet's tough, balletic dialogue, and break down the film's iconic action and chase sequences. Tune in because, as Sam says, 'Whenever there is any doubt, there is no doubt. That's the first thing they teach you.'Is Travis Woods a friend of yours? We went to high school together.Scene 7: 51.36-1.01.21Travis Woods (Host of INCREMENT VICE)Travis Woods is a Contributing Editor at Bright Wall/Dark Room, as well as a writer for The New Beverly Cinema and Cinephilia & Beyond.Join our Patreon for as little as $1 a month for an exclusive weekly podcast + access to the OHM discord here.ONE HEAT MINUTE PRODUCTIONSWEBSITE: ONEHEATMINUTE.COMPATREON: ONE HEAT MINUTE PRODUCTIONS PATREONTWITTER: @ONEBLAKEMINUTE & @KATIEWALSHSTX & @OHMPODSSupport this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

To mark the passing of the great Gene Hackman, the writer and critic Sean T. Collins and the cartoonist and graphic novelist Julia Gfrörer are my special guests for a deep dive into one of our favourite films, Francis Ford Coppola's The Conversation (1974).The Conversation was groundbreaking in terms of film editing; when Coppola was pulled away to direct The Godfather Part II, editor Walter Murch had to streamline a narrative out of an incomplete film shoot and synthesized new approaches to picture editing and sound design which he credited to studying Hackman's precise performance as the surveillance expert Harry Caul, a lonely middle-aged man whose Catholic guilt and past sins begins to weigh on his conscience as he obsesses over his latest spycraft job, plagued with worry over the fate of the young couple he's recorded and what the tape will be used for by his sinister corporate client. We discuss the autobiographical details Coppola lent to the characterization and Jungian psychoanalysis that can be applied to the content, some of our favourite moments, and how the themes of The Conversation continue to resonate with audiences over half a century later. Follow Sean T. Collins and Julia Gfrörer on Bluesky. And support Sean and Julia's work on Patreon!Julia Gfrörer's newest collection of fiction World Within the World: Collected Minicomix & Short Works 2010-2022 (Fantagraphics) is now available. ‘I'm Not Afraid of Death': How Gene Hackman's Dream in The Conversation Mirrors Our Dark Moment, by Sean T. Collins, for Decider, February 27, 2025“The Making of The Conversation: An Interview with Francis Ford Coppola” by Brian De Palma, from Filmmakers Newsletter, 1974, reproduced by Cinephilia & Beyond Trailer for The Conversation (Coppola, 1974)

Hang onto your slipcases because Blake Howard (One Heat Minute Productions) and special guest Travis Woods (Bright Wall / Dark Room) team up to unbox, unpack and unveil upcoming IMPRINT FILMS physical media releases.In this episode, we discuss: Film Focus: Burt Reynolds (1973 – 1976) – Imprint Collection #374 – 376Quintessential leading man Burt Reynolds stars in three action-packed thrill rides from the 70s!White Lightning (1973)Hustle (1975)Gator (1976)Limited Edition 4-Disc Hardbox, featuring brand NEW Special Features for every film, plus the acclaimed 2020 feature documentary ‘I Am Burt Reynolds'.Travis Woods (Host of INCREMENT VICE)Travis Woods is a Contributing Editor at Bright Wall/Dark Room, as well as a writer for The New Beverly Cinema and Cinephilia & Beyond.He lives and writes in Los Angeles. He has a dog and a tattoo of Elliott Gould smoking. Bob Dylan once clapped him on the back and whispered something incomprehensible. These are the only interesting things about him.Support: JOIN THE ONE HEAT MINUTE PATREON FOR AS LITTLE AS $1 A MONTHFollow the hosts:Blake Howard - Twitter & One Heat Minute Website Alexei Toliopoulos - Twitter & The Last Video StoreSupport this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

"The cine-grammar of this movie is pure art-deco detective noir in these broad strokes." We have arrived at seeing MANHUNTER, just as Michael Mann has intended, and I have arrived at seeing one of the best to do it - Travis Woods - bringing his truly gifted and immense film mind to bear on MINHUNTER.Travis Woods (Host of INCREMENT VICE)Travis Woods is a Contributing Editor at Bright Wall/Dark Room, as well as a writer for The New Beverly Cinema and Cinephilia & Beyond.He lives and writes in Los Angeles. He has a dog and a tattoo of Elliott Gould smoking. Bob Dylan once clapped him on the back and whispered something incomprehensible. These are the only interesting things about him.FOLLOW TRAVIS ON TWITTER HERE.Join our Patreon for as little as $1 a month to receive an exclusive weekly podcast and access to the OHM Discord here.ONE HEAT MINUTE PRODUCTIONSWEBSITE: ONEHEATMINUTE.COMPATREON: ONE HEAT MINUTE PRODUCTIONS PATREONTWITTER: @ONEBLAKEMINUTE & @KATIEWALSHSTX & @OHMPODSSupport this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

JC and Mike are in after the second playoff committee rankings. They try to make some sense of the seeding and methodology before JC drops the JC/5 for the week. Tom Luginbill from the ACCN joins them in the discussion, and they take look around the country to examine some great performances on the field with an objective eye on who fell to build the win totals. Lugs gives his thoughts on some of the teams and superlatives in college football with a bit of cinephilia mixed in for good measure and fun. Mike wraps the episode with some Group 5 John thoughts. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

There's been a lot of debate about what the relationship should be between videographic criticism and writing. Some have wondered if video essays could function as stand-alone scholarship and break free from having to be framed by text-based explanations such as creator statements or peer reviews. But even if one acknowledges the role of writing in advancing videographic scholarship, another question emerges: which writing?  At this year's SCMS annual meeting in Boston, videographic scholars Evelyn Kreutzer and Alan O'Leary observed that several video essay presentations would cite texts from feminist film studies, genre film studies, global film studies, etc.  But there wasn't so much reference to existing writing about videographic scholarship. And it got them thinking, why aren't videographic scholars giving more attention to writing about video essays? Haven't there been examples of written scholarship that are worth referencing, in shaping our thinking about the form? Is it that they aren't known well enough or established enough to be cited? And how can we start to get a better appreciation of the role of writing in video essay scholarship?  Evelyn and Alan recorded this conversation to get into these questions. Evelyn asked Alan to come up with two written essays that could be especially helpful in understanding videographic scholarship. Alan came up with about 6 or 7, which can be found in the show notes. From those they picked two to discuss in depth, leading to a rich and contentious conversation about what scholars want from video essays, and what role writing has in determining the answers to that question. This episode is the sixth in an ongoing collaboration between The Video Essay Podcast and "The Video Essay: Memories, Ecologies, Bodies," a three-year research project on video essays led by Kevin B. Lee, Locarno Film Festival Professor for the Future of Cinema at USI University of Lugano, with Johannes Binotto and Evelyn Kreutzer, and funded by the Swiss National Science Foundation. Written Essays Discussed Binotto, Johannes. In Lag of Knowledge. The Video Essay as Parapraxis. in: Bernd Herzogenrath (Ed.): Practical Aesthetics. London, New York: Bloomsbury 2021, S. 83-94. de Fren, Allison. ‘The Critical Supercut: A Scholarly Approach to a Fannish Practice', The Cine-Files, Vol. 15, 2020, http://www.thecine-files.com/the-critical-supercut-a-scholarly-approach-to-a-fannish-practice/. Garwood, Ian. ‘From “Video Essay” to “Video Monograph”? Indy Vinyl as Academic Book', NECSUS: European Journal of Media Studies, Vol. 9, No. 1, 2020, https://necsus-ejms.org/from-video-essay-to-video-monograph-indy-vinyl-as-academic-book/. Two articles by Susan Harewood:  ‘Seeking a Cure for Cinephilia', The Cine-Files 15 (2020), http://www.thecine-files.com/seeking-a-cure-for-cinephilia/ ‘Canon and Catalyst in Video Essays', ZFM 2023, https://zfmedienwissenschaft.de/en/online/videography-blog/canon-and-catalyst-video-essays Two articles by Miklós Kiss: Videographic Criticism in the Classroom: Research Method and Communication Mode in Scholarly Practice. The Cine Files 15 (2020), http://www.thecine-files.com/videographic-criticism-in-the-classroom/. What's the Deal with the ‹Academic› in Videographic Criticism? ZFM (2024), https://zfmedienwissenschaft.de/en/online/whats-deal-academic-videographic-criticism. Follow the show on ⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠. Learn more at the pod's ⁠⁠⁠⁠⁠⁠website⁠⁠⁠⁠⁠⁠. Get the ⁠⁠⁠⁠⁠⁠free newsletter⁠⁠⁠⁠⁠⁠. Music by Ketsa.

The Verdict (1982) tells the story of down-on-his-luck Boston lawyer, Frank Galvin (Paul Newman). Galvin had been a rising star until he was framed for jury tampering by a partner at his elite Boston law firm because he planned to expose the firm's illegalities. Galvin left the firm and his marriage and career fell apart. After Galvin hits rock bottom, his former partner and friend Mickey Morrisey (Jack Warden) sends him a medical malpractice case as a favor; the case involves a botched delivery and is expected to settle out of court for a significant sum. But Galvin is moved after visiting the woman in the hospital, where he sees her in a comatose state. Galvin refuses the settlement offer and takes the case to trial, where he confronts the hospital's high-powered and corrupt attorney Ed Concannon (James Mason) and a hostile judge (Milo O'Shea), Galvin also has a romantic relationship with another attorney, Laura Fischer (Charlotte Rampling) whom he meets in a bar but, unbeknownst to him, is a spy planted by Concannon. Galvin discovers the hospital is covering up its negligence. Although the judge excludes this evidence, Galvin wins a huge damage award as the jury sees the truth. The Verdict was directed by Sidney Lumet and written by David Mamet, adapted from Barry Reed's 1980 novel of the same name. It is a gripping courtroom drama and a moving story of redemption. My guest is John (“Rusty”) Wing, Senior Counsel at Lankler, Siffert & Wohl, and a nationally recognized criminal defense attorney (full bio here) Timestamps:0.00    Introduction3:23     A lawyer down on his luck6:26     Jury-tampering10:29   Rejecting a settlement offer without consulting the client17:58   Why judges pressure settlement 26:53   Prepping the witness32:05   The pretrial investigation41:23    A mistrial?44:09  The judge takes over the direct examination47:46   A heated fight in chambers49:57   The trial's pivotal moment51:54   The judge's evidentiary rulings57:37   The summation 59:20  Jury nullification106:23 A comparison with "12 Angry Men"Further reading:Bergman, Paul  & Asimow, Reel Justice: The Courtroom Goes to the Movies (2006)Mikulee, Sven, “‘The Verdict': Sidney Lumet and David Mamet's Masterpiece as a Blend of a Courtroom Drama and a Personal Redemption Story,” Cinephilia and Beyond Parker, Richard D., “The Good Lawyer: The Verdict” in Screening Justice – The Cinema of Law: Significant Films of Law, Order and Social Justice (Rennard Strickland et. al. eds., 2006)Souther, Sharon A., “The Artist's Search for Justice in the Justice System: A Discussion of Representative Films of Sidney Lumet and Works from the World of Literature on the Law,” 25 Cardozo Arts & Ent. L.J. 687 (2007)Valero, Geraldo, "Revisiting Sidney Lumet's The Verdict," RogerEbert.com (Aug. 15, 2023)Law on Film is created and produced by Jonathan Hafetz. Jonathan is a professor at Seton Hall Law School. He has written many books and articles about the law. He has litigated important cases to protect civil liberties and human rights while working at the ACLU and other organizations. Jonathan is a huge film buff and has been watching, studying, and talking about movies for as long as he can remember. For more information about Jonathan, here's a link to his bio: https://law.shu.edu/faculty/full-time/jonathan-hafetz.cfmYou can contact him at jonathanhafetz@gmail.comYou can follow him on X (Twitter) @jonathanhafetz You can follow the podcast on X (Twitter) @LawOnFilmYou can follow the podcast on Instagram @lawonfilmpodcast

Ready for an all-night sexual odyssey? We're going LONG on Stanley Kubrick's final masterpiece, Eyes Wide Shut (1999) which stars then real-life Hollywood A-list couple, Tom Cruise and Nicole Kidman. Trace has a lengthy production history for this Guinness Record-holding film, which appears to be making fun of Cruise's own stardom and sexuality? Plus: high praise for Kidman's two confession scenes, selling the film on sex, the cast that could have been, secret societies on and off screen, and talk of Kubrick "edging" the audience for 2.5 hours. References: > Nik Dobrinsky. "Eyes Wide Shut: Hidden in Plain Sight." Boy Drinks Ink. > Karina Longworth. "Eyes Wide Shut, Part 1". You Must Remember This Podcast > Sven Mikulee. "‘Eyes Wide Shut': A Tense, Nightmarish Exploration of Marriage and Sexuality in Kubrick's Ultimate Film." Cinephilia & Beyond > Justin Morrow. "Is 'Eyes Wide Shut' the Movie Stanley Kubrick Wanted Us to See?" NoFilmSchool > Ed Power. "Eyes Wide Shut: 20 years on, Stanley Kubrick's most notorious film is still shrouded in mystery." The Independent > Richard Schikel. "Cinema: All Eyes On Them." TIME Magazine Questions? Comments? Snark? Connect with the boys on Twitter, Instagram, Youtube, Letterboxd, Facebook, or join the Facebook Group to get in touch with other listeners > Trace: @tracedthurman > Joe: @bstolemyremote Be sure to support the boys on Patreon!  Theme Music: Alexander Nakarada    Learn more about your ad choices. Visit megaphone.fm/adchoices

Ramsey Campbell is an English horror fiction writer, editor and critic who has been writing for well over fifty years. He is the author of over 30 novels and hundreds of short stories, many of them winners of literary awards. Three of his novels have been adapted into films. He is also the author of Ramsey's Rambles, a book of film criticism and Six Stooges and Counting, a study of the famous comedy team the 3 Stooges. Support this show http://supporter.acast.com/writers-on-film. Hosted on Acast. See acast.com/privacy for more information.

Smash all the lights and strike a match because we're talking about disability horror, Audrey Hepburn and Wait Until Dark (1967). Joining us for the conversation is disability documentary filmmaker Ariel Baska, who has a love/hate relationship with the film and its contribution to "cripping up." Plus: that famous jump scare, accusations of misogyny and ableism, the gross history of "Ugly Laws," and the return of Trace's recurring joke about Charade Reference: ‘Wait Until Dark': Terence Young's Terrifyingly Effective Suspense Thriller with Brilliant Audrey Hepburn and Alan Arkin. Cinephilia and Beyond Questions? Comments? Snark? Connect with the boys on Twitter, Instagram, Youtube, Letterboxd, Facebook, or join the Facebook Group to get in touch with other listeners > Trace: @tracedthurman > Joe: @bstolemyremote > Ariel: @justaskabaska (Insta) Be sure to support the boys on Patreon!  Theme Music: Alexander Nakarada   Learn more about your ad choices. Visit megaphone.fm/adchoices

Dr. Andy Jackson's The Late and Post-Dictatorship Cinephilia Boom and Art Houses in South Korea (Edinburgh University Press, 2024) examines an unexplored area of South Korean cinema history – the 1985-1997 growth of art film exhibition, consumption, and cinephilia. This moment of heightened interest in art film altered how many Koreans conceptualised cinema and helped pave the way for the critical success of South Korean film. This historical study analyses the cultural, political, social, and economic developments of the post-1985 period that increased interest in European art film. It looks at the interactions of art house exhibitors with cinephile audiences, the media and the state-level administrators responsible for governing the industry. The aim of young cinephiles was nothing less than a bottom-up cultural transformation of a society emerging from three decades of dictatorship. The analysis is based on the previously unheard voices of audiences who participated in the cinephilia. This study is both a history of an era in Korean cinema and an argument about the impact of this period of cultural renewal on the industry. Andy Jackson is an Associate Professor in the Korean Studies programme at Monash University. He is also director of the Monash University Korean Studies Research Hub (MUKSRH) and current convenor of Korean Studies. His key research areas include the history of rebellion in Korea, premodern and modern Korean history, North and South Korean film and popular culture, invented traditions in Korea. Learn more about Monash University's Korean Studies Research Hub here. Leslie Hickman is a translator and writer. She has an MA in Korean Studies from Yonsei University. You can follow her activities on X.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Dr. Andy Jackson's The Late and Post-Dictatorship Cinephilia Boom and Art Houses in South Korea (Edinburgh University Press, 2024) examines an unexplored area of South Korean cinema history – the 1985-1997 growth of art film exhibition, consumption, and cinephilia. This moment of heightened interest in art film altered how many Koreans conceptualised cinema and helped pave the way for the critical success of South Korean film. This historical study analyses the cultural, political, social, and economic developments of the post-1985 period that increased interest in European art film. It looks at the interactions of art house exhibitors with cinephile audiences, the media and the state-level administrators responsible for governing the industry. The aim of young cinephiles was nothing less than a bottom-up cultural transformation of a society emerging from three decades of dictatorship. The analysis is based on the previously unheard voices of audiences who participated in the cinephilia. This study is both a history of an era in Korean cinema and an argument about the impact of this period of cultural renewal on the industry. Andy Jackson is an Associate Professor in the Korean Studies programme at Monash University. He is also director of the Monash University Korean Studies Research Hub (MUKSRH) and current convenor of Korean Studies. His key research areas include the history of rebellion in Korea, premodern and modern Korean history, North and South Korean film and popular culture, invented traditions in Korea. Learn more about Monash University's Korean Studies Research Hub here. Leslie Hickman is a translator and writer. She has an MA in Korean Studies from Yonsei University. You can follow her activities on X.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Dr. Andy Jackson's The Late and Post-Dictatorship Cinephilia Boom and Art Houses in South Korea (Edinburgh University Press, 2024) examines an unexplored area of South Korean cinema history – the 1985-1997 growth of art film exhibition, consumption, and cinephilia. This moment of heightened interest in art film altered how many Koreans conceptualised cinema and helped pave the way for the critical success of South Korean film. This historical study analyses the cultural, political, social, and economic developments of the post-1985 period that increased interest in European art film. It looks at the interactions of art house exhibitors with cinephile audiences, the media and the state-level administrators responsible for governing the industry. The aim of young cinephiles was nothing less than a bottom-up cultural transformation of a society emerging from three decades of dictatorship. The analysis is based on the previously unheard voices of audiences who participated in the cinephilia. This study is both a history of an era in Korean cinema and an argument about the impact of this period of cultural renewal on the industry. Andy Jackson is an Associate Professor in the Korean Studies programme at Monash University. He is also director of the Monash University Korean Studies Research Hub (MUKSRH) and current convenor of Korean Studies. His key research areas include the history of rebellion in Korea, premodern and modern Korean history, North and South Korean film and popular culture, invented traditions in Korea. Learn more about Monash University's Korean Studies Research Hub here. Leslie Hickman is a translator and writer. She has an MA in Korean Studies from Yonsei University. You can follow her activities on X.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

Dr. Andy Jackson's The Late and Post-Dictatorship Cinephilia Boom and Art Houses in South Korea (Edinburgh University Press, 2024) examines an unexplored area of South Korean cinema history – the 1985-1997 growth of art film exhibition, consumption, and cinephilia. This moment of heightened interest in art film altered how many Koreans conceptualised cinema and helped pave the way for the critical success of South Korean film. This historical study analyses the cultural, political, social, and economic developments of the post-1985 period that increased interest in European art film. It looks at the interactions of art house exhibitors with cinephile audiences, the media and the state-level administrators responsible for governing the industry. The aim of young cinephiles was nothing less than a bottom-up cultural transformation of a society emerging from three decades of dictatorship. The analysis is based on the previously unheard voices of audiences who participated in the cinephilia. This study is both a history of an era in Korean cinema and an argument about the impact of this period of cultural renewal on the industry. Andy Jackson is an Associate Professor in the Korean Studies programme at Monash University. He is also director of the Monash University Korean Studies Research Hub (MUKSRH) and current convenor of Korean Studies. His key research areas include the history of rebellion in Korea, premodern and modern Korean history, North and South Korean film and popular culture, invented traditions in Korea. Learn more about Monash University's Korean Studies Research Hub here. Leslie Hickman is a translator and writer. She has an MA in Korean Studies from Yonsei University. You can follow her activities on X.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Dr. Andy Jackson's The Late and Post-Dictatorship Cinephilia Boom and Art Houses in South Korea (Edinburgh University Press, 2024) examines an unexplored area of South Korean cinema history – the 1985-1997 growth of art film exhibition, consumption, and cinephilia. This moment of heightened interest in art film altered how many Koreans conceptualised cinema and helped pave the way for the critical success of South Korean film. This historical study analyses the cultural, political, social, and economic developments of the post-1985 period that increased interest in European art film. It looks at the interactions of art house exhibitors with cinephile audiences, the media and the state-level administrators responsible for governing the industry. The aim of young cinephiles was nothing less than a bottom-up cultural transformation of a society emerging from three decades of dictatorship. The analysis is based on the previously unheard voices of audiences who participated in the cinephilia. This study is both a history of an era in Korean cinema and an argument about the impact of this period of cultural renewal on the industry. Andy Jackson is an Associate Professor in the Korean Studies programme at Monash University. He is also director of the Monash University Korean Studies Research Hub (MUKSRH) and current convenor of Korean Studies. His key research areas include the history of rebellion in Korea, premodern and modern Korean history, North and South Korean film and popular culture, invented traditions in Korea. Learn more about Monash University's Korean Studies Research Hub here. Leslie Hickman is a translator and writer. She has an MA in Korean Studies from Yonsei University. You can follow her activities on X.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Dr. Andy Jackson's The Late and Post-Dictatorship Cinephilia Boom and Art Houses in South Korea (Edinburgh University Press, 2024) examines an unexplored area of South Korean cinema history – the 1985-1997 growth of art film exhibition, consumption, and cinephilia. This moment of heightened interest in art film altered how many Koreans conceptualised cinema and helped pave the way for the critical success of South Korean film. This historical study analyses the cultural, political, social, and economic developments of the post-1985 period that increased interest in European art film. It looks at the interactions of art house exhibitors with cinephile audiences, the media and the state-level administrators responsible for governing the industry. The aim of young cinephiles was nothing less than a bottom-up cultural transformation of a society emerging from three decades of dictatorship. The analysis is based on the previously unheard voices of audiences who participated in the cinephilia. This study is both a history of an era in Korean cinema and an argument about the impact of this period of cultural renewal on the industry. Andy Jackson is an Associate Professor in the Korean Studies programme at Monash University. He is also director of the Monash University Korean Studies Research Hub (MUKSRH) and current convenor of Korean Studies. His key research areas include the history of rebellion in Korea, premodern and modern Korean history, North and South Korean film and popular culture, invented traditions in Korea. Learn more about Monash University's Korean Studies Research Hub here. Leslie Hickman is a translator and writer. She has an MA in Korean Studies from Yonsei University. You can follow her activities on X.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/korean-studies

Dr. Andy Jackson's The Late and Post-Dictatorship Cinephilia Boom and Art Houses in South Korea (Edinburgh University Press, 2024) examines an unexplored area of South Korean cinema history – the 1985-1997 growth of art film exhibition, consumption, and cinephilia. This moment of heightened interest in art film altered how many Koreans conceptualised cinema and helped pave the way for the critical success of South Korean film. This historical study analyses the cultural, political, social, and economic developments of the post-1985 period that increased interest in European art film. It looks at the interactions of art house exhibitors with cinephile audiences, the media and the state-level administrators responsible for governing the industry. The aim of young cinephiles was nothing less than a bottom-up cultural transformation of a society emerging from three decades of dictatorship. The analysis is based on the previously unheard voices of audiences who participated in the cinephilia. This study is both a history of an era in Korean cinema and an argument about the impact of this period of cultural renewal on the industry. Andy Jackson is an Associate Professor in the Korean Studies programme at Monash University. He is also director of the Monash University Korean Studies Research Hub (MUKSRH) and current convenor of Korean Studies. His key research areas include the history of rebellion in Korea, premodern and modern Korean history, North and South Korean film and popular culture, invented traditions in Korea. Learn more about Monash University's Korean Studies Research Hub here. Leslie Hickman is a translator and writer. She has an MA in Korean Studies from Yonsei University. You can follow her activities on X.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Are you suffering from Cinephilia or Teliphilia? Then don't wait! Join Billy, Brad, Brett, George, and Ted as they attempt to help you with this addiction. It's Films VS TV Shows! You don't want to hear about the side effects this podcast may cause.

Imprint Companion is the only podcast on the Australian Internet about "DVD Culture."Hang onto your slipcases because Blake Howard (One Heat Minute) joins one of the best long-form film critics working today, host of INCREMENT VICE, and video essayist behind Portrait of the Artist as a Dead Man: ‘Bring Me the Head of Alfredo Garcia' and Sam Peckinpah's Last Chance (available on this very disc)- Travis Woods. Blake and Travis team up to unbox, unpack and unveil upcoming releases from Australia's boutique Blu-Ray label Imprint Films. This episode reviews the incredible Bring Me The Head Of Alfredo Garcia (1974) – Imprint Collection #251Blake Howard - Twitter & One Heat Minute Website Visit imprintfilms.com.au Travis Woods is a Contributing Editor at Bright Wall/Dark Room, as well as a writer for The New Beverly Cinema and Cinephilia & Beyond.He lives and writes in Los Angeles. He has a dog and a tattoo of Elliott Gould smoking. Bob Dylan once clapped him on the back and whispered something incomprehensible. These are the only interesting things about him.FOLLOW TRAVIS ON TWITTER HERE.Support this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Inside its genre ‘guardrails,' WITNESS tells the story of worlds brought together by tragedy – but whose intersection point (a haggard Harrison Ford and a repressed Kelly McGillis) exemplifies the deep, dignified richness of human love and connection. Also, Angus MacInnes dies horribly via grain entrapment and Danny Glover's guts get spilled in cow shit. Watch WITNESS on the Internet Archive: https://archive.org/details/Witness_1985 Get tickets to the Peter Weir series at the Trylon: https://www.trylon.org/films/category/peter-weir/ “Harrison Ford and the Power of Star Persona in Witness and The Mosquito Coast” by John Blair for Perisphere, the Trylon blog: https://www.perisphere.org/2023/08/25/harrison-ford-and-the-power-of-star-persona-in-witness-and-the-mosquito-coast/ Roger Ebert's 1985 review of WITNESS: https://www.rogerebert.com/reviews/witness-1985 “Peter Weir's ‘Witness': A Deep, Subtle and Complex Social Comment Disguised as a Police Thriller” by Sven Mikulec for Cinephilia & Beyond (containing an excerpt of Virginia Campbell's interview with Peter Weir for Movieline in 1998): https://cinephiliabeyond.org/peter-weirs-witness-deep-subtle-complex-social-comment-disguised-police-thriller/ Follow us on Twitter at https://twitter.com/trylovepodcast and email us at trylovepodcast@gmail.com to get in touch! Buy tickets and support the Trylon at https://www.trylon.org/. Theme: "Raindrops" by Huma-Huma/"No Smoking" PSA by John Waters. Outro music: “Main Theme” by Maurice Jarre from the WITNESS soundtrack. Timestamps 0:00 - Episode 242: WITNESS (1985) 3:05 - The episode actually starts 9:15 - The Patented Aaron Grossman Summary 11:20 - First reactions to WITNESS and its ‘guardrail moments' 21:52 - Is WITNESS too married to its genre inspirations? 43:00 - Peter Weir's rewritten ‘hopeless' ending 53:29 - The Junk Drawer 1:05:01 - Good Grief, Give Me a GIF! 1:09:48 - Cody's Noteys: Bearing WITNESS (August trivia through the years)

On this episode of Cannesversations Patrick and Eliana discuss Tsai Ming-Liang's 2009 in-competition Cannes film, Visage (臉 | Face). Commissioned by the Louvre Museum and sprinkled with the ghosts of Nouvelle Vague and Truffaut's own muses, the Taiwanese director's own muse, Lee Kang Sheng, wades through halls of grief and desire while directing a film based on the incandescent and timeless biblical Salomé.Through long durational takes, absurd situations, and a composed acumen of transience, Tsai's cinema captivates with just one face, leaving behind a body of work that lends itself in equal parts to theatrical and institutional dissemination.Resources/Credits:Bordeleau, Erik. "The Care for Opacity – On Tsai Ming-Liang's Conservative Filmic Gesture." NECSUS. European Journal of Media Studies, 1 (2012), No. 2, p. 115–131. DOI: www.doi.org/10.25969/mediarep/15052.Bordeleau, Erik. "Soulful Sedentarity: Tsai Ming-Liang at Home at theMuseum." Studies in European Cinema, 10:2-3, 179-194, DOI: 10.1386/seci.10.2-3.179_1.Hughes, Darren. "Tsai Ming-liang." Senses of Cinema, May 2003, https://www.sensesofcinema.com/2003/great-directors/tsai/.Lim, Song Hwee. Tsai Ming-liang and a Cinema of Slowness. University of Hawai'i Press, 2014.Tsai, B. 2017. The many faces of Tsai Ming-liang: Cinephilia, the French connection, and cinema in the gallery. International Journal of Asia Pacific Studies 13 (2): 141–160, https://doi.org/10.21315/ijaps2017.13.2.7Villiers, Nicholas de. Cruisy, Sleepy, Melancholy. Sexual Disorientation in the Films of Tsai Ming-liang. University of Minnesota Press, 2022.Visage - Press Kit Cannes.Sound:EFF Open Audio License for Le Carnaval des Animaux (Saint-Saëns, Camille - Aquarium) by Neal O'Doan (Piano) Nancy O'Doan (Piano), and Seattle Youth Orchestra Pandora Records/Al Goldstein ArchiveIntro Interview

Molly Haskell is a legend of film criticism. A critic for the Village Voice, she also is one of the earliest most powerful voices in feminist film criticism, with her ground-breaking work From Reverence to Rape: The Treatment of Women in the Movies as well as books on Spielberg and Gone with the Wind. Support this show http://supporter.acast.com/writers-on-film. Hosted on Acast. See acast.com/privacy for more information.

In this Special Program I chat with William O. Tyler. Who is the Co Editor of the Black Queer Anthology We Belong, produced in connection to Stack Deck Press and Prism Comics. The other Co editor is Viktor Kerney. Their crowdfunding campaign is present on Zoop ( https://zoop.gg/c/webelong ). We discuss the creation of this anthology and its message. We also discuss William's other works (Anxious Ax, Siren.0, and Cinephilia) which were part of how he manage his mental health during COVID lockdown, and would assets for any therapist work with a number of mental health challenges. So please Listen, Share, and support the crowdfunding. Links: https://zoop.gg/c/webelong linktr.ee/williamotyler https://stackeddeckpress.com/ https://www.prismcomics.org/

Join Dani and Nick for the fourth episode of season four of KINOTOMIC.An episode that was recorded in person, they talk about German filmmaker Wim Wenders and two of his most well known films.We look at 'Paris, Texas', starring Harry Dean Stanton, Dean Stockwell and Nastassja Kinski; and 'Wings Of Desrie, starring Bruno Ganz, Solveig Dommartin and Peter Falk.Links:- Dani's piece on 'Paris, Texas'- Cinephilia and Beyond on 'Paris, Texas'Leave a rating and a review, and THANK YOU for listening!!----Twitter: @kinotomicContact us: kinotomic@gmail.comDani Vilu:Threads: @dani_coucou@threads.netTwitter: @kinojoanWebsite: kinojoan.co.ukNick Chandler:Threads: @nicholas_s_chandler@threads.netTwitter: @NickSChandlerWebsite: superatomovision.comInstagram: @superatomovision

Cinephilia has recently experienced a powerful resurgence, one enabled by new media technologies of the digital revolution. One strong continuity between today's "new cinephilia" and the classical cinephilia of the 1950s is the robust sociability which these new technologies have facilitated. Each activity of today's cinephilic practice - viewing, thinking, reading and writing about films - is marked by an unprecedented amount of social interaction facilitated by the Internet. As with their classical counterparts, the thoughts and writings of today's cinephiles are born from a vigorous and broad-ranging cinephilic conversation. Further, by dramatically lowering the economic barriers to publication, the Internet has also made possible new hybrid forms and outlets of cinephilic writing that draw freely from scholarly, journalistic and literary models.  The New Cinephilia (Caboose, 2022) both describes and theorises how and where cinephilia lives and thrives today. In this expanded second edition, author Girish Shambu revisits some of his original ideas and calls into question the focus in cinephilia on the male canon in the wake of the #MeToo movement and the lack of racial and gender diversity in contemporary cinema. As Dr. Shambu writes:"There is more to the cinephile experience than simply surfing from one link to another in a state of perpetual motion. How does this movement - this daily proliferation of encounters - power one's cinephilia? What special affective charge does this experience hold? In other words, how is the experience of the Internet cinephile affectively different from that of a 'traditional' cinephile who spends little time online?"  In this conversation with host Annie Berke, Dr. Shambu talks working as a Professor of Management while maintaining his profile as a prolific cinephile, explains why auteurism is a "manspreading machine," and offers recommendations on what films exemplify a "cinema of the future." Girish Shambu is Professor of Management at Canisius College in Buffalo, New York, where he teaches sustainability and supply chain management. In a dual career as film blogger, critic and scholar, Girish is also the author of The New Cinephilia (Caboose, 2020, 2nd ed.) and editor of Film Quarterly's online column Quorum. His writings have appeared in The Criterion Collection, Framework Journal of Film & Media, and Film Quarterly.  In addition to being a host on New Books in Film, Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television. You can read her reviews and essays at Literary Hub, Public Books, LA Review of Books, The A.V. Club, Little White Lies, Film Quarterly, and The Washington Post. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Cinephilia has recently experienced a powerful resurgence, one enabled by new media technologies of the digital revolution. One strong continuity between today's "new cinephilia" and the classical cinephilia of the 1950s is the robust sociability which these new technologies have facilitated. Each activity of today's cinephilic practice - viewing, thinking, reading and writing about films - is marked by an unprecedented amount of social interaction facilitated by the Internet. As with their classical counterparts, the thoughts and writings of today's cinephiles are born from a vigorous and broad-ranging cinephilic conversation. Further, by dramatically lowering the economic barriers to publication, the Internet has also made possible new hybrid forms and outlets of cinephilic writing that draw freely from scholarly, journalistic and literary models.  The New Cinephilia (Caboose, 2022) both describes and theorises how and where cinephilia lives and thrives today. In this expanded second edition, author Girish Shambu revisits some of his original ideas and calls into question the focus in cinephilia on the male canon in the wake of the #MeToo movement and the lack of racial and gender diversity in contemporary cinema. As Dr. Shambu writes:"There is more to the cinephile experience than simply surfing from one link to another in a state of perpetual motion. How does this movement - this daily proliferation of encounters - power one's cinephilia? What special affective charge does this experience hold? In other words, how is the experience of the Internet cinephile affectively different from that of a 'traditional' cinephile who spends little time online?"  In this conversation with host Annie Berke, Dr. Shambu talks working as a Professor of Management while maintaining his profile as a prolific cinephile, explains why auteurism is a "manspreading machine," and offers recommendations on what films exemplify a "cinema of the future." Girish Shambu is Professor of Management at Canisius College in Buffalo, New York, where he teaches sustainability and supply chain management. In a dual career as film blogger, critic and scholar, Girish is also the author of The New Cinephilia (Caboose, 2020, 2nd ed.) and editor of Film Quarterly's online column Quorum. His writings have appeared in The Criterion Collection, Framework Journal of Film & Media, and Film Quarterly.  In addition to being a host on New Books in Film, Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television. You can read her reviews and essays at Literary Hub, Public Books, LA Review of Books, The A.V. Club, Little White Lies, Film Quarterly, and The Washington Post. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Cinephilia has recently experienced a powerful resurgence, one enabled by new media technologies of the digital revolution. One strong continuity between today's "new cinephilia" and the classical cinephilia of the 1950s is the robust sociability which these new technologies have facilitated. Each activity of today's cinephilic practice - viewing, thinking, reading and writing about films - is marked by an unprecedented amount of social interaction facilitated by the Internet. As with their classical counterparts, the thoughts and writings of today's cinephiles are born from a vigorous and broad-ranging cinephilic conversation. Further, by dramatically lowering the economic barriers to publication, the Internet has also made possible new hybrid forms and outlets of cinephilic writing that draw freely from scholarly, journalistic and literary models.  The New Cinephilia (Caboose, 2022) both describes and theorises how and where cinephilia lives and thrives today. In this expanded second edition, author Girish Shambu revisits some of his original ideas and calls into question the focus in cinephilia on the male canon in the wake of the #MeToo movement and the lack of racial and gender diversity in contemporary cinema. As Dr. Shambu writes:"There is more to the cinephile experience than simply surfing from one link to another in a state of perpetual motion. How does this movement - this daily proliferation of encounters - power one's cinephilia? What special affective charge does this experience hold? In other words, how is the experience of the Internet cinephile affectively different from that of a 'traditional' cinephile who spends little time online?"  In this conversation with host Annie Berke, Dr. Shambu talks working as a Professor of Management while maintaining his profile as a prolific cinephile, explains why auteurism is a "manspreading machine," and offers recommendations on what films exemplify a "cinema of the future." Girish Shambu is Professor of Management at Canisius College in Buffalo, New York, where he teaches sustainability and supply chain management. In a dual career as film blogger, critic and scholar, Girish is also the author of The New Cinephilia (Caboose, 2020, 2nd ed.) and editor of Film Quarterly's online column Quorum. His writings have appeared in The Criterion Collection, Framework Journal of Film & Media, and Film Quarterly.  In addition to being a host on New Books in Film, Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television. You can read her reviews and essays at Literary Hub, Public Books, LA Review of Books, The A.V. Club, Little White Lies, Film Quarterly, and The Washington Post. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Cinephilia has recently experienced a powerful resurgence, one enabled by new media technologies of the digital revolution. One strong continuity between today's "new cinephilia" and the classical cinephilia of the 1950s is the robust sociability which these new technologies have facilitated. Each activity of today's cinephilic practice - viewing, thinking, reading and writing about films - is marked by an unprecedented amount of social interaction facilitated by the Internet. As with their classical counterparts, the thoughts and writings of today's cinephiles are born from a vigorous and broad-ranging cinephilic conversation. Further, by dramatically lowering the economic barriers to publication, the Internet has also made possible new hybrid forms and outlets of cinephilic writing that draw freely from scholarly, journalistic and literary models.  The New Cinephilia (Caboose, 2022) both describes and theorises how and where cinephilia lives and thrives today. In this expanded second edition, author Girish Shambu revisits some of his original ideas and calls into question the focus in cinephilia on the male canon in the wake of the #MeToo movement and the lack of racial and gender diversity in contemporary cinema. As Dr. Shambu writes:"There is more to the cinephile experience than simply surfing from one link to another in a state of perpetual motion. How does this movement - this daily proliferation of encounters - power one's cinephilia? What special affective charge does this experience hold? In other words, how is the experience of the Internet cinephile affectively different from that of a 'traditional' cinephile who spends little time online?"  In this conversation with host Annie Berke, Dr. Shambu talks working as a Professor of Management while maintaining his profile as a prolific cinephile, explains why auteurism is a "manspreading machine," and offers recommendations on what films exemplify a "cinema of the future." Girish Shambu is Professor of Management at Canisius College in Buffalo, New York, where he teaches sustainability and supply chain management. In a dual career as film blogger, critic and scholar, Girish is also the author of The New Cinephilia (Caboose, 2020, 2nd ed.) and editor of Film Quarterly's online column Quorum. His writings have appeared in The Criterion Collection, Framework Journal of Film & Media, and Film Quarterly.  In addition to being a host on New Books in Film, Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television. You can read her reviews and essays at Literary Hub, Public Books, LA Review of Books, The A.V. Club, Little White Lies, Film Quarterly, and The Washington Post. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Cinephilia has recently experienced a powerful resurgence, one enabled by new media technologies of the digital revolution. One strong continuity between today's "new cinephilia" and the classical cinephilia of the 1950s is the robust sociability which these new technologies have facilitated. Each activity of today's cinephilic practice - viewing, thinking, reading and writing about films - is marked by an unprecedented amount of social interaction facilitated by the Internet. As with their classical counterparts, the thoughts and writings of today's cinephiles are born from a vigorous and broad-ranging cinephilic conversation. Further, by dramatically lowering the economic barriers to publication, the Internet has also made possible new hybrid forms and outlets of cinephilic writing that draw freely from scholarly, journalistic and literary models.  The New Cinephilia (Caboose, 2022) both describes and theorises how and where cinephilia lives and thrives today. In this expanded second edition, author Girish Shambu revisits some of his original ideas and calls into question the focus in cinephilia on the male canon in the wake of the #MeToo movement and the lack of racial and gender diversity in contemporary cinema. As Dr. Shambu writes:"There is more to the cinephile experience than simply surfing from one link to another in a state of perpetual motion. How does this movement - this daily proliferation of encounters - power one's cinephilia? What special affective charge does this experience hold? In other words, how is the experience of the Internet cinephile affectively different from that of a 'traditional' cinephile who spends little time online?"  In this conversation with host Annie Berke, Dr. Shambu talks working as a Professor of Management while maintaining his profile as a prolific cinephile, explains why auteurism is a "manspreading machine," and offers recommendations on what films exemplify a "cinema of the future." Girish Shambu is Professor of Management at Canisius College in Buffalo, New York, where he teaches sustainability and supply chain management. In a dual career as film blogger, critic and scholar, Girish is also the author of The New Cinephilia (Caboose, 2020, 2nd ed.) and editor of Film Quarterly's online column Quorum. His writings have appeared in The Criterion Collection, Framework Journal of Film & Media, and Film Quarterly.  In addition to being a host on New Books in Film, Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television. You can read her reviews and essays at Literary Hub, Public Books, LA Review of Books, The A.V. Club, Little White Lies, Film Quarterly, and The Washington Post. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

Feliksas' film work includes: Transsiberian, The Collectress, Vanishing Waves, Redirected, Eastern Business, Sasha Was Here, The Flood Won't Come, The Generation Of Evil, Cinephilia, Long Flat Balls 3, and the acclaimed, Vesper.  Feliksas' television work includes the series: Occupied, The Oil Fund, and Troll Farm. 

Let me tell you the story of Right Hand/Left Hand. For it was with the right hand (LOVE) that actor Charles Laughton directed Robert Mitchum in one of his scariest performances in a film based on a controversial book and it was the left hand (HATE) that critics struck down the first time director's directing career. But wait a minute! As time went on, 1955's The Night of the Hunter became a beloved classic by filmmakers and movie lovers everywhere.But who does Mike and Trevor agree with? With the lovers or the haters?This might be the most controversial episode of Cinephilia to date!

On a very special episode of Cinephilia, Mike and Trevor talk about possibly the most underrated movie of 2022, Babylon. It's the unique tale of Hollywood's struggle with the introduction of sound. 

Hello all you Ed-Heads, TImbos, and Candice Clown Cynics.  Do we have a treat for you. WIth a big red nose (From the boozing) and two floppy shoes (indicitive that my cock size is prodigious) or the smile I wear proudly every single day.. Terrifier!  You asked for it, we covered it. Tim and I both loved it! since we love fun. Candice might have had her best "I know what the twist is going to be" moments in history. Considering she knew she hated it before she even saw it. The mark of a true Cinephilia. I break the news to Candice that her son loves Andrew Tate. We talk about inverted titty hang, the original use of chainsaws, and suffocating a man by stretching the loose skin from your ball bag over their face. Also we talk about the movie. Thanks again to Melanie @meljmcd on twitter for the sugestion. If you have a suggestion for listener request month.... tough shit, you missed your window. You know us, https://www.patreon.com/bloodybits  Hit us up on twitter. you can check us out on twitter. Tim @yobogold Candice @HorrorHoochie69  and me @eddietheaxe    

Kalid & Joe find themselves back in the John Carpenter sandbox! This time, the crew unpacks the 1995 conclusion to the unofficial 'Apocalypse Trilogy,' In The Mouth of Madness. *Thank you to Jim Hall for the music! Check out more of his music here, and if you like what you hear, please consider donating to support his work here! *Thank you to Jim Tandberg/Grant Hasbrouck for the Frankenstein's Podcast artwork! References: ‘In the Mouth of Madness': John Carpenter's Love Letter to H.P. Lovecraft and the Subgenre of Cosmic Horror - Koraljka Suton, Cinephilia and Beyond [Retrospective] John Carpenter's Overlooked Cosmic Apocalypse Picture, 'In the Mouth of Madness' Turns 25 - Bloody Disgusting Wall of Monsters - Villains Wiki Paper Girls on Amazon Prime The Resort on Peacock Reservation Dogs season 2 on FX/Hulu Wellington Paranormal - HBO Max

For “Voyeur” July, we're talking one-on-one about The Conversation (1974) through the lenses of surveillance and seclusion, Gene Hackman and Walter Murch, Catholic guilt and cool jazz. From its bird's eye opening to the obliterative final shots, we get into the nuts and bolts of Francis Ford Coppola's “personal” post-Godfather film and what it means to watch, fixate, deduce, mishear, and, despite everything, to long to be seen.Some stuff we reference: Walter Murch's “Rule of Six” for editors, Koraljka Suton's piece for Cinephilia & Beyond, and this terrific 1974 interview with Coppola and Brian de Palma for Filmmakers Newsletter.The Bright Wall/Dark Room Podcast is co-hosted by Veronica Fitzpatrick and Chad Perman and produced and edited by Eli Sands. Our theme music is composed by Chad.Find all 100+ issues of Bright Wall/Dark Room, including this month's lookie-look issue, at brightwalldarkroom.com. Please subscribe, rate, and give us a quick review. We're on Twitter @BWDR and @TheBWDRPodcast, and you're welcome to show support via our Patreon. We welcome listener feedback and sponsorship inquiries at editors@brightwalldarkroom.com.

For the first homework assignment, Mike and Trevor discuss the overlooked and under appreciated 2012 film, The Place Beyond the Pines. A lengthy discussion ensues with many surprises and revelations coming to light. To this day, Trevor still insists on riding like lighting, even though we all know how it ends.

The recent death of Peter Bogdanovich prompted the Preverts to record an episode to explore the career of what might be the most neglected of the major directors to emerge from the New Hollywood movement of the 70s. Despite sharing an intense love for the cinema with peers such as Scorsese, Coppola and De Palma, Bogdanovich clearly had a more single minded focus on the early days of Hollywood from the silent era up to and including the 40s and his films reflect a desire to explore the basic forms established by his personal favourites like Welles, Hawks and Ford. He had a somewhat sad story having both direct and indirect connections to some of the more tragic Hollywood deaths of his time. And his reputation also seemed to wane after some poorly received films in the 70s and never fully recovered, but his contributions were undeniably substantial and he had a unique style and perspective that persisted throughout his career.  His representations of love and sex are particularly refreshing and may even give him some claim to being one of the horniest Hollywood directors of all time. Although his career was hindered by poor critical reception and an inability to get funding this episode makes the case that he still made a significant number of truly memorable films.

ONE HEAT MINUTE IS THE PODCAST EXAMINING MICHAEL MANN'S 1995 L.A CRIME OPUS HEAT MINUTE BY MINUTE.On this very special BONUS episode host Blake Howard joins editor staff writer Bright Wall/ Dark Room, and host of Increment Vice, Travis Woods. Travis and I discuss all the details of the series' return and that men would rather start a second HEAT podcast than getting therapy.TRAVIS WOODSTravis Woods is a Contributing Editor at Bright Wall/Dark Room, as well as a writer for The New Beverly Cinema and Cinephilia & Beyond.He lives and writes in Los Angeles. He has a dog and a tattoo of Elliott Gould smoking. Bob Dylan once clapped him on the back and whispered something incomprehensible. These are the only interesting things about him.Twitter: @aHeartOfGouldPodcast: Increment ViceOne Heat Minute ProductionsWEBSITE: oneheatminute.comPATREON: One Heat Minute Productions PatreonTWITTER: @OneBlakeMinute & @OHMPodsMERCH: http://tee.pub/lic/41I7L55PXV4Support this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

[Spoiler Alert] In this episode of K-Drama School, Grace discusses the show The King's Affection (KBS, 2021) and its trans gender queerness, incisive critique of patriarchal greed, as well as Park Eun-bin's robust acting career which dates as far back as 1998, Rowoon's impressive acting chops, and more. Grace's guest is comedian Liam McEneaney (@radioliam on Instagram and @HeyItsLiam on Twitter). They discuss New York in the 90s, Mars Bar, Taylor Mead, Bikini Kill, Jim Jarmusch, Sara Driver, Steve Buscemi, The Big Lebowski, the Beatniks, Korean stand-up comedy, the war in the Middle East, inherited and intergenerational trauma among Koreans, the Irish, the Jews and Indigenous Peoples, abuse in the Korean church, sobriety, masculinity, Agnès Varda, and many more. Follow @KDramaSchool on Instagram, Twitter and TikTok. Visit kdramachool.com to learn more. --- Support this podcast: https://anchor.fm/kdramaschool/support

Call it. 2007 was a banner year for films examining existential masculine dread. Michael Clayton. The Assassination of Jesse James By the Coward Robert Ford. There Will Be Blood. But above them all stands No Country For Old Men, the Coen Brothers' adaptation of Cormac McCarthy's classic novel. Author John Woods (Lady Chevy) joined us to discuss all the ways Cormac drills into the deepest, darkest parts of our collective psyche. https://www.authorjohnwoods.com (Connect with John Woods) Jake Dee, Screenrant, April, 2020 - https://screenrant.com/no-country-for-old-men-facts-trivia/ (10 Things You Didn't Know About No Country For Old Men) Adam Sternbergh, Vulture, September, 2017- https://www.vulture.com/2017/09/remembering-no-country-for-old-men-10-years-later.html (Remembering No Country For Old Men, A Masterful Book/Movie Collaboration, Ten Years Later) https://www.rogerebert.com/reviews/no-country-for-old-men-2007 (Roger Ebert, 4 stars, November, 2007) Cinephilia & Beyond - https://cinephiliabeyond.org/no-country-for-old-men/ (‘No Country For Old Men': The Coen Brothers and Cormac McCarthy's Ruthless Examination of Life) https://www.youtube.com/watch?v=KADoPXknQCI (Lessons From the Screenplay - Don't Underestimate the Audience) TLS on the web https://twitter.com/LongShadowPod (TLS on Twitter) TLS on Instagram https://www.facebook.com/longshadowpod/ (TLS on Facebook) https://ginnyrobbins.square.site (Ginny Robbins (original artwork)) https://ryanculwell.com/home (Ryan Culwell (theme music))

In this episode, host Dhruv and regular collaborator Aryan gush for the entirety of the episode about Mr. Wright's stellar filmography to celebrate the release of his latest film, Last Night in Soho (which will get an episode of its own!). Unlike the director's trademark precision, this episode is much more rambling, with most attention given to the ingenious Cornetto Trilogy, especially Shaun of the Dead. Yes, the whip pans (not wide pans...Dhruv), the crash zooms, and the smash cuts. But also, much more extensive focus on the wonderful set-ups and payoffs that manage to elicit both belly laughs and the odd tear or two. Scott Pilgrim and Baby Driver also get their moments, though, with both Dhruv and Aryan concurring that Wright's energetic style is as infectious as ever. But, they question if the migration to Canada and America means that he loses that Brit-specificity that we both love so much in the work he has co-written with the impeccable Simon Pegg. Do hit 'Follow' on Spotify if you haven't already to help the podcast reach more people! Follow our Instagram page: https://instagram.com/queenisdead.filmpodcast Support this podcast: https://anchor.fm/queenisdead/support Follow us on Letterboxd at - https://letterboxd.com/aterminalcinema/ https://letterboxd.com/Sanjeet_Singh/ https://letterboxd.com/aryantalksfilms/ Sponsorships: on for this episode --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/queenisdead/support

In our introductory episode, we give a high-level overview of Chantal Akerman's origins, tease the future of the podcast, and dive right into Akerman's spirited first short film, Saute Ma Ville (aka Blow Up My Town), made at the age of 18. If you like the show or what we do generally, consider throwing us a few bucks to help cover our costs: https://paypal.me/kateandsimonpod Our intro music is performed by Sundar Subramanian. You can stream and buy his work here: https://sundarsubramanian.bandcamp.com/

On this episode we talk about the meaning of cinephilia, and if shitty movies can be great. Find out what movies we recommend for the rest of the spooky season and also find out if Trey reveals why he thinks Fast and the Furious 3: Tokyo Drift is the best film of the franchise. Intro Music: Eric Skiff - A Night of Dizzy Spells Sponsor: The Dirty Hoe Garden Supply http://www.popfizzclick.net Instagram: @itspopfizzclick Matt: @badchildwiththebeats Trey: @treysome_81 Guest: Brent @craftbeerhouston (Instagram), @idlehero (Letterbox) Copyright 2021 - Studio 533 --- Send in a voice message: https://anchor.fm/popfizzclick/message

Calling all movie buffs! This entire episode we talk about our favorite films and tv series, different genres and classics. It's impossible to fit all of our favorites in one hour, but we covered a lot of ground!

courtesy of Louie Baharom, Cinephilia.ph In the middle of a rather gloomy chat about John Denver Trending, we decided to loosen up a bit and have fun. This is a behind the scenes look into the making of John Denver Trending’s alternate (!?) ending. (Basically 8 minutes of us fooling around, but we had fun) This is an outtake from a 2 part episode discussing John Denver Trending. Listen to it by clicking the links below: part 1 part 2 Guests: Arden Rod Condez (Director), Jansen Magpusao (John Denver), Meryll Soriano (Maritess). the finished version:

courtesy of Louie Baharom, Cinephilia.ph In this special 2 part episode of Third World Cinema Club, we talk about one of the most important films of 2019. John Denver Trending won best film at Cinemalaya 2019, and with its debut on streaming services, it has gained an all new audience. We take a deep dive into the film, talking with the director and lead actors about making the film, and more. Guests: Arden Rod Condez (Director), Jansen Magpusao (John Denver), Meryll Soriano (Maritess). notes: This episode contains major spoilers. This is part one of a two part episode, the second part can be found here. This episode is dedicated to former Film Police staffer Kenneth Borlan, who sadly passed away early this year.

courtesy of Louie Baharom, Cinephilia.ph Our special 2 part deep dive into the 2019 film John Denver Trending continues. In this part, we talk about some of the film’s most important scenes and moments. Guests: Arden Rod Condez (Director), Jansen Magpusao (John Denver), Meryll Soriano (Maritess). notes: This episode contains major spoilers. This is part two of a two part episode, the first part can be found here. This episode is dedicated to former Film Police staffer Kenneth Borlan, who sadly passed away early this year.

courtesy of Louie Baharom of Cinephilia.ph Our three part special episode remembering the life and works of the late Peque Gallaga comes to an emotional conclusion. In this part, we discuss: the Negros Filmmaking Workshop, Direk Peque’s masterwork Oro Plata Mata, and one final tribute. Our guests: Direk Peque's creative partners and fellow collaborators Lore Reyes and Jo Macasa, and film archivists/cultural workers Ronald Rios and Teddy Co. notes: As said above, this is the edited and cleaned version of our live broadcast last May 16. The original broadcast is available on the Third World Cinema Club Facebook Page. This is the final part of a three part series (collectively known as Episode 67.) This podcast episode contains spoilers. There is a silent part near the beginning of the episode. If you watched the stream, you’ll know where this part is. We have decided not to edit out this part for obvious reasons.

courtesy of Louie Baharom, Cinephilia.ph Our three part special remembering the life and works of the late Peque Gallaga continues. In this part, we discuss: Puso ng Pasko, Magic Temple, Gangland, and Direk Peque’s final film project, Magikland. Our guests: Direk Peque's creative partners and fellow collaborators Lore Reyes and Jo Macasa, and film archivists/cultural workers Ronald Rios and Teddy Co. notes: As said above, this is the edited and cleaned version of our live broadcast last May 16. The original broadcast is available on the Third World Cinema Club Facebook Page. This is the second of a three part series (collectively known as Episode 67.) This podcast episode contains spoilers and mild swearing.