By Dan DeWeese
Solaris, genre, and the problems of loving simulacra.
All tagged Speculative Cinema
The Invention of Marienbad
By Dan DeWeese
Is every art film science fiction?
The Monster in Your Head
By Dan DeWeese
Forbidden Planet diagnoses the movies.
Sex Slaves
By Dan DeWeese
Before space, there was obsession.
Méliès and the Limits
By Dan DeWeese
Taking A Trip to the Moon.
Blade Runner Now Watches Us From the Past
By Dan DeWeese
In Blade Runner, eyes reveal the plot is not the story.
The Government is a Computer
By Connor Jones
In Alphaville, Jean-Luc Godard turned a 1960 computer into a disorienting vision of the future.
Film It Slant
By Dan DeWeese
No man appears heroic in a Dutch angle.
They Can’t Touch Us
By Marlena Williams
Beneath its surface, The Entity is a film about sexual violence and the ways in which society silences the women who experience it, while keeping the men who perpetuate it hidden from view.
We Have Seen the Enemy, and It Is Television
By Tevis Eurythmic
Cinema hates television. In The Theory of the Novel, Georg Lukacs posits that there are true novels and fake novels—books labeled “a novel” that are really just narratives created to move mass units of recycled stereotypes and tired tropes. Visual depictions of small screens inside cinematic worlds in the 1970s and 1980s suggest cinema felt the same about television: that the “idiot box” is a fraudulent, socially corrosive form of visual storytelling—a cheap, fake version of cinema.
Nobody's Hero
By Dan DeWeese
Blow-Up is more relevant now than it was in 1966.
She Selected Herself
By Dan DeWeese
Citizenfour’s cinematic ancestors are not documentaries. Fahrenheit 451 is not about books. The current definition of “secret” appears to be “something everyone already knows and tolerates.”