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The late writer and critic rarely dealt directly with film, but his theories about oil painting can help us rebuff a conservative tendency to attribute Hollywood artists’ successes to the studio system itself, writes Brad Stevens.
Monday 20 February 2017
Did a frivolous turn for the Hollywood thriller set the scene for America’s insatiable new winner-in-chief, wonders Brad Stevens?
Monday 23 January 2017
In the second part of a special focus on Veit Harlan, Brad Stevens reveals how the director’s later work continued to undermine fascist ideology.
Monday 19 December 2016
In the first of two posts reassessing the Nazi collaborations of German director Veit Harlan, Brad Stevens scratches at the antisemitic surface of his notorious 1940 drama Jew Suss.
Monday 21 November 2016
Melvin Van Peebles’ Sweetback is no Shaft clone, but the provocative hero of a dreamlike movie in which nothing can be taken for certain, argues Brad Stevens.
Tuesday 18 October 2016
The art of decomposition: Brad Stevens on why Bill Gunn’s vampire film drives a stake through classical film craft.
Saturday 23 July 2016
How can we define films noir? Are they really all about fatalism, and gynophobia – or could the richest of them actually hint at what it means to lose the rat race, asks Brad Stevens?
Thursday 30 June 2016
Maximilian Schell’s 1973 investigation of West Germany’s relationship with its Nazi past wishes away the American cultural trappings that inform the better-known works of his New German Cinema peers. It’s the sort of failure from which cults are made, says Brad Stevens.
Tuesday 3 May 2016
Brad Stevens on what links Duck Soup’s celebrated nightdress pantomime and Jacques Rivette’s multidimensional actresses – an anarchic scepticism about the very possibility of stable identity.
Friday 4 March 2016
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