The Kinoeye archive
A chronological index of articles that
have appeared in volume 3 (2003) of Kinoeye

Welcome to the Kinoeye archive. The ultimate aim of the archive is to provide a near-as-damn-it definitive index of intelligent and thoughtful English-language analysis of cinema from the new Europe on the web. This page only covers articles that have appeared in Kinoeye the journal, and not articles that appeared in the Kinoeye column in Central Europe Review prior to September 2001 or articles on external sites. Use one of the other archive pages or the search page to locate articles from these sources.

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• Go to the volume 1 (2001) articles page
• Go to the volume 2 (2002) articles page
• Go to the volume 4 (2004) articles page

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Vol 3, Issue 1, 20 Jan 2003

Making it all happen: Producers in Europe

• Front page
• Doing it by themselves : Pavel Strnad, head of the Asociace Producentů v Audiovizi, interviewed
  by Ivana Košuličová
• When the dust has settled: Chris Auty interviewed
  by Andrew James Horton
• Letter from Bulgaria :
  Rossitza Valkanova interviewed
  by Igor Pop Trajkov
• Invasion of the mutant B-movie producers: Roger Corman interviewed
  by Steven Yates

Vol 3, Issue 2, 3 Feb 2003

• Front page
• Ordinary compromises:
  István Szabó interviewed
  by Necati Sönmez
• Man of magnets:
  Marcin Wrona interviewed
  by Izabela Kalinowska
• The birdcage is empty :
  Further thoughts on Roman Polanski's The Pianist (2002)
  by Sheila Skaff
• The "Real" and the abominations of hell :
  Carl-Theodor Dreyer's Vampyr (1931) and Lucio Fulci's E tu vivrai nel terrore—L'aldilà (The Beyond, 1981)
  by Michael Grant
• The face that launched a thousand trips:
  An interview with Reggie Nalder
  by David Del Valle

Vol 3, Issue 3, 17 Feb 2003

Images of power and the power of images:
The films of Miklós Jancsó, part I

• Front page
• Miklós who?: A round-up of Miklós Jancsó's career
  by Andrew James Horton
• This silly profession:
  Miklós Jancsó interviewed
  by Andrew James Horton
• The rooster is crowing:
  "Jewish themes" in Jancsó's films
  by György Báron
• Two men against history
  A comparative look at Andrzej Wajda and Miklós Jancsó
  by Krzysztof Rucinski
• The aura of history
  Jancsó's depictions of the year 1919
  by Andrew James Horton
• Private truths, public lies
  Jancsó's Vizi privati, pubbliche virtú (Private Vices, Public Virtues, 1975)
  by Rolland Man
• The denial of oppression
  Three Hungarian works by Jancsó from the 1970s
  by Peter Hames

Vol 3, Issue 4, 3 March 2003

Images of power and the power of images:
The films of Miklós Jancsó, part II

• Front page
• The tyrant's waltz: Jancsó in the 1980s—first view
  by Graham Petrie
• Now's the time to rot forever:
  Jancsó in the 1980s—second view
  by Jaromír Blažejovský
• Acquired uncertainty:
  Jancsó in the 1980s—third view
  by Gábor Gelencsér
• I haven't changed, the world has:
  Miklós Jancsó interviewed
  by Graham Petrie
• Writing dialogues with the viewer:
  Gyula Hernádi interviewed
  by Graham Petrie
• We should see the world the same way:
  János Kende interviewed
  by Graham Petrie
• A true actor can't exist without the theatre:
  Mari Törőcsik interviewed
  by Graham Petrie
• It takes a lot of cunning:
  István Nemeskürty interviewed
  by Graham Petrie
• Hamlet in Wonderland:
  Jancsó's Nekem lámpást adott kezembe az Úr Pesten
  (The Lord's Lantern in Budapest, 1998)
  by Andrew James Horton

Vol 3, Issue 5, 12 May 2003

• Front page
• Not just a Bosnian war epic:
  Rolando Colla's Oltre Il Confine (Across the Border, 2002)
  by Elke de Wit
• Globalisation, within limits:
  The 53rd Berlin International Film Festival
  by Felicitas Becker
• Survival, continuity and eminence grise:
  The 2003 Skopje Film Festival
  by Igor Pop Trajkov

Three on Tesis

• The violence of the spectacle :
  Alejandro Amenábar's Tesis (Thesis, 1996)
  by Marguerite La Caze
• The cultural construction of snuff :
  Alejandro Amenábar's Tesis (Thesis, 1996)
  by Neil Jackson
• Whose "postmodern" horror?:
  Alejandro Amenábar's Tesis (Thesis, 1996)
  by Matt Hills

 

Vol 3, Issue 6, 26 May 2003

• Front page
• Making the best of a bad situation:
  Belgrade's film school profiled
  by Elke de Wit
• I love actors:
  Dalibor Matanić interviewed
  by Igor Pop Trajkov
• Unclear boundaries :
  Overview of the 16th Finále Festival of Czech Film
  by Peter Hames
• The way through the bleak city:
  Ivan Vojnár's Lesní chodci (Forest Walkers, 2003)
  by Andrew James Horton
• Sex, selfhood and the corpse of the German past:
  Jörg Buttgereit's Nekromantik (1987) and Nekromantik 2 (1991)
  by Linnie Blake
• The origins of violence in a peaceful society:
  Oliver Hirschbiegel's Das Experiment (The Experiment, 2001)
  by Steffen Hantke

Vol 3, Issue 7, 9 June 2003

Passion without words
The cinema of Claire Denis

• Front page
• Performing the narrative of seduction:
  Claire Denis' Beau travail (Good Work, 1999)
  by Elena del Río
• Lost in fields of interracial desire:
  Claire Denis' Chocolat (1988)
  by Hilary Neroni
• Looking for trouble: The dialectics of lack and excess
  Claire Denis'Trouble Every Day (2001)
  by Philippe Met
• Resisting the lure of ultimate enjoyment:
  Claire Denis' J'ai pas sommeil (I Can't Sleep, 1994)
  by Todd McGowan
• Decoding unreadable spaces:
  Claire Denis' J'ai pas sommeil (I Can't Sleep, 1994)
  by Corinne Oster

Vol 3, Issue 8, 14 July 2003

• Front page
• In our country, a producer is only a manufacturer:
  Dariusz Jabłońkski, president of Poland's Association of Independent Film and TV Producers, interviewed
  by Felicitas Becker
• We need to unite :
  Leading Slovene producer Danijel Hočevar interviewed
  by Igor Pop Trajkov
• Body horror and the gender of space and city:
  Auli Mantila's Pelon maantiede (Geography of Fear, 2000)
  by Tarja Laine
• Italian perversions:
  Antonio Margheriti and Paul Morrissey's Il mostro é in Tavola, Barone Frankenstein (Flesh for Frankenstein, 1974) and Dracula cerca sangue di vergine... e morì di sete! (Blood for Dracula, 1974)
  by Patricia MacCormack

Vol 3, Issue 9, 15 September 2003

Ať žije film! (Long live film!)
Karel Kachyňa's 50 years in cinema

• Front page
• Generation 57 and beyond:
  A portrait of Karel Kachyňa
  by Dora Viceníková
• A sixties trilogy :
  Three films from Kachyňa's "black series"
  by Peter Hames
• After the black wave:
  Poetry and tragedy in the post-1960s films of Karel Kachyňa
  by Ivana Košuličová
• The sentimental world of children:
  Kachyňa's Už zase skáču pres kaluže (I'm Jumping Over Puddles Again, 1970)
  by Dora Viceníková
• Maturity to the bone:
  Kachyňa's Sestříčky (Nurses, 1983)
  by Markéta Dvořácková
• Surviving pre-modern melancholia:
  Kachyňa's Kráva (The Cow, 1993)
  by Andrew James Horton

Horror supplement

• Transgression, transformation and titillation:
  Jaromil Jireš's Valerie a týden divů (Valerie and Her Week of Wonders, 1970)
  by Tanya Krzywinska
• Magic against materialism:
  Czech animator Jiří Barta interviewed
  by Phil Ballard

Vol 3, Issue 10, 29 September 2003

Reconstructing reality
Recent film from the former Yugoslav republics

• Front page
• Terra incognita no more:
  The "New Films from Slovenia" season in New York
  by Brian J Požun
• At the frontier of tragedy and comedy:
  Damjan Kožole's Reservni deli (Spare Parts, 2003)
  by W Martin
• Farewell, my love:
  Vesna Ljubić's Adio kerida (2001)
  by Gordana P Crnković
• Lifeblood:
  Denijal Hasanović's List (The Letter, 2001) and the child as a symbol of hope
  by Steven Yates
• Looking outwards:
  50th Pula International Film Festival
  by Marina Malenić
• Retrieving a picture from motion:
  Gordana P Crnković, David Hahn and Victor Ingrassia's Zagreb Everywhere (2001)
  by Gordana P Crnković
• The geopolitics of film heritage:
  The EU influence on Macedonia's film repetoire
  by Igor Pop Trajkov
• The Celluloid Tinderbox:
  Yugoslav screen reflections of a turbulent decade
  by Andrew James Horton (ed)

Horror festival supplement

• Brussels after midnight:
  A report on the 21st Brussels International Festival of Fantasy, Thriller and Science-Fiction Film
  by Frank Lafond
• Sometimes, dead is better:
  A report from the 10th anniversary of the Edinburgh "Dead By Dawn" horror film festival
  by Simon Wilkinson

Vol 3, Issue 11, 13 October 2003

• Front page
• The birth of remembering:
  Wolfgang Staudte's Die Mörder sind unter uns (The Murderers are among Us, 1946)
  by Angela Palmer
• Narratives of transgression, from Jewish folktales to German cinema:
  Paul Wegener's Der Golem, wie er in die Welt kam (The Golem: How He Came into the World, 1920)
  by Cathy Gelbin
• A witches' brew of fact, fiction and spectacle:
  Benjamin Christensen's Häxan (The Witch, 1922)
  by James Kendrick
• Unusually Gothic:
  Robert Sigl's Laurin (1987)
  by Marcus Stiglegger

Vol 3, Issue 12, 27 October 2003

Four views of Italian horror

• Front page
• La Dolce morta:
  Space, modernity and the giallo
  by Mikel J Koven
• Nazis over Nuremberg:
  Antonio Margheriti's La Vergine di Norimberga (The Virgin of Nuremberg, 1964)
  by Christopher Dietrich
• The Shadow Destroyers:
  Ubaldo Ragona and Sidney Salkow's L'ultimo uomo della Terra (The Last Man on Earth, 1964)
  by James Iaccino
• When sex and death are indissoluble:
  Riccardo Freda's L'Orribile segreto del dottor Hichcock (The Horrible Secret of Dr Hichcock, 1962)
  by David Del Valle

Vol 3, Issue 13, 10 November 2003

New views on new French film

• Front page
• Identity and love:
  The not-so discreet charm of François Ozon
  by Adam Bingham
• Knowing the limits:
  Death and distance in French film at the San Francisco International Film Festival
  by Felicitas Becker
• A feminist fairytale:
  Lionel Delplanque's Promenons-nous dans les bois (Deep in the Woods, 2000)
  by Colette Balmain
• Nostalgia, separatism and Kung Fu :
  Christophe Gans' Le Pacte des loups (Brotherhood of the Wolf, 2001)
  by Kathryn Bergeron

 

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