Editorial
One year ago, when we celebrated the ten year anniversary of our journal, our editorial contemplated on the need for a new agenda. Observing that Central, Eastern and South-Eastern European cinema has converged institutionally and aesthetically to the standards of the West, we highlighted the desire to dig deeper and discuss forms of cinema that...
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Vol. 120 (December 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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