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Hubert I. Cohen

Review of András Bálint Kovács, SCREENING MODERNISM: EUROPEAN ART CINEMA, 1950–1980

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Putting the Culture into Bioculturalism

A Naturalized Aesthetics and the Challenge of Modernism

Dominic Topp

Greengrass, M. Night Shyamalan, and, yes, Spielberg), but also the European art cinema of Carl Theodor Dreyer, Lars von Trier, and Julio Medem along with films by non-Western directors such as Takeshi Kitano and Wong Kar-Wai, and the work of experimental

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Embodied Liberation

The Female Reception of Oshima Nagisa's International Co-Productions

Yuta Kaminishi

After international film festivals shifted their focus from European art-cinema-centered programs to world-cinema-oriented programs in the late 1960s, Oshima Nagisa became one of the leading directors who not only won prizes but also provided

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Representing Sanctuary

On Flatness and Aki Kaurismäki's Le Havre

Vinh Nguyen

Rascaroli, following Gilles Deleuze and Félix Guattari, calls this approach the “becoming-minor” of European art cinema, a “stammering of a major filmic language that is deployed—often with humour, always with self-awareness” ( 2013: 327 ) to perform filmic