Editorial
The state of being physically or mentally cooped up appears to be a cinematographic constant that the receding COVID-crisis had little to no effect upon. In popular movies, confinement comes in many forms. There are prison films, films about prison escapes, films about abductions, films about hijacking, films about trapped housewives and domesticated husbands, films...
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Vol. 115 (May 2021)
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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