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Factor sixty three desk of Contents

This is the total checklist of articles from the print journal factor of Cinema Scope #63. We put up chosen articles from each one factor at the website. For the total content material please sign up for the journal, or think about the moment electronic obtain model. Articles to be had loose on-line are associated below.



In goals start tasks: the flicks of Patricio Guzmán by way of Max Nelson

Wild issues: The unusual Cinema of Jack Garfein by way of Kate Rennebohm

The motion picture Chaser: Charles Willeford on movie by way of Sean Rogers

Joyce Wieland: notice of Mouth via Samuel los angeles France

Implications of a Totality: Frames for the flicks of Joseph Bernard through Phil Coldiron


Cock and Bull tales: Miguel Gomes on Arabian Nights by means of Mark Peranson

Digging for heritage: Corneliu Porumboiu at the Treasure by means of Adam Cook

Strip Tease: Peter Tscherkassky and The beautiful Corpus through Daniel Kasman

Spotlight: Cannes


Cannes 2015: My God, It’s choked with Stars! by way of Mark Peranson

Italians in a foreign country: early life, Mia Madre, story of stories, the opposite part by means of Celluloid Liberation Front

The murderer by way of Jordan Cronk

Son of Saul by means of Richard Porton

Cemetery of Splendour by means of Kong Rithdee

Sleeping tremendous by way of Jason Anderson

Love by means of Blake Williams


canada most sensible ten atanarjuat

Editor’s Note

Canadiana: Canada’s All-Time best Ten through Adam Nayman

Deaths of Cinema: Manoel de Oliveira by means of Michael Sicinski

Film/Art: Marcel Broodthaers and Albert Serra via Andréa Picard

Global Discoveries on DVD by means of Jonathan Rosenbaum

Exploded View: Gregory Markopoulos via Chuck Stephens


mad max

Mad Max: Fury street through Christoph Huber

Eden via Angelo Muredda

Poet on a work trip through Tony Rayns

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Extra info for Cinema Scope (Summer 2015, No. 63)

Sample text

Fittschen addresses the question of the creation and dissemination o f these imperial portrait types (and of those of the members of the imperial family) through a critical review of the methods used i n the study of Roman imperial portraiture. These methods were once developed as a compensation for the lack of secure contexts and portraits with identifying inscriptions, for, unfortunately, it is the case that precisely in Rome itself, where presumably the greatest concentration of imperial portraits was to be found, the find contexts are particularly unclear.

Parameters 47 The images and statues that multiplied and extended imperial presence throughout the Roman empire numbered, as Fittschen suggests, (at least) i n the hundreds of thousands (cf. Ando 2000: 206-73). The visual omnipresence of the Roman emperor (and of his family) engendered by means o f images must consequently have been, i n fact, overwhelming - even, as Fittschen notes, when one draws a comparison with the dissemination o f the ruler's image i n modern absolutist or totalitarian forms of rule.

This outward demarcation, as well as the staging of transitions through magnificent monumental arches, corresponded to the different temporality o f these places: with the Forum o f Augustus, above all, the strict symmetry 31 and the sacral and political charging of this "abstract space" corresponded to an imperial experience o f time programmed on permanence and repetition and displaced from the quotidian experience of linear or cyclical time (Feeney 2007). The imperial myth evoked i n the Forum of Augustus by means o f an unusually well thought-out program of images was an attempt to establish a stable and lasting structure o f meaning, one removed from the vicissitudes of historical change, i n the wake o f the experiences of chaotic change and acceleration i n the late Republic.

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