Editorial
One of the driving motivations for founding this journal over a decade ago was the observation that cinema is everywhere. Film productions had become so expansive that it was no longer possible to create a film journal without begging questions: what kind of films, made by whom, and where? Back when the Cahiers du cinema...
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Vol. 131 (January 2023)
In his essay on the Polaroids of Andrei Tarkovsky, Gawan Fagard draws parallels between the ontology of the medium and the work of the Russian director.
Daniel Fuller looks at the way a Ukrainian computer game transfigured folkloric processes of remembering, drawing parallels to Andrei Tarkovsky’s Stalker.
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