Mark Le Fanu is a well-known writer on film who has contributed regular pieces and columns to Sight and Sound, Positif and the East-West Review. A former Lecturer in English at the University of Cambridge, he was from 1993-2008 Director of Studies in Film History at the European Film College in Ebeltoft, Denmark. He is the author of The Cinema of Andrei Tarkovsky (1987) and Mizoguchi and Japan (2005), which was shortlisted in its year of publication for the Krazna-Kraus Prize. Author affiliation details are correct at time of print publication.
Believing in Film: Christianity and Classic European Cinema
I.B. Tauris, 2018
...A modern Christian epic: Tarkovsky's Andrei Roublev.The epic quality of cinema spectacle has been a defining aspect of its identity since the experiments of Griffith and the Italians in the early teens of the twentieth century. Like...
Dina Iordanova is the author of Cinema of Flames (2001) and co-editor of The BFI Companion to Eastern European and Russian Cinema (2000). She teaches in communication at the University of Leicester, UK. Author affiliation details are correct at time of print publication.
Cinema of Flames: Balkan Film, Culture and the Media
British Film Institute, 2001
...While historians claim they work with a firm set of criteria to secure objectivity, film-makers have no illusions that in historical reconstruction there is an intricate selectivity as to what is remembered when, and what aspects...
MARK BOULD is Reader in Film and Literature at the University of the West of England, UK. He is the author of Science Fiction: The Routledge Film Guidebook (2012), The Cinema of John Sayles: Lone Star (2009), Film Noir: From Berlin to Sin City (2005), co-author of The Routledge Concise History of Science Fiction (2011), and co-editor of the Science Fiction Film and Television journal. Author affiliation details are correct at time of print publication.
...Despite being one of Andrei Tarkovsky’s most successful films, Solaris (1972) was the one he most disliked. This dismissal of his most generically marked film has often been accepted by those quick to embrace the image of Tarkovsky...
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