Over the last few years I have had a handful of articles appear in two on-line film publications. The first of these is Intellect’s The Big Picture Magazine, which is a publication devoted to focusing attention upon the visual artistry within contemporary cinema. You can find the following three articles at this publication:
- Four Frames: Sherry Baby (Published: 17/10/2013) – This is a short piece exploring the power dynamics of a rather frank sex scene that occurs early in Laurie Collyer’s 2006 film.
Four Frames: Sherry Baby
- Four Frames: La Vie de Jesus (Published: 22/03/2013) – Focuses upon the exquisite framing of the climatic scene in Dumont’s 1997 debut feature. It is my argument that this sequence appears to conflate the spiritual and the material as masochistically endured antimonies.
Four Frames: La Vie de Jesus
- 1,000 Words: Deconstructing the Manic Pixie Dream Girl (Published: 26/04/2013) – A short essay that looks at the phenomenon of the manic pixie dream girl in film and advocates that Ruby Sparks (2012) is in fact an impressively self-aware feminist deconstruction of this slyly chauvinistic trope.
1,000 Words: Deconstructing the Manic Pixie Dreamgirl
Whereas these were some of my earliest attempts at a serious engagement with writing about film aesthetics and cover standalone films, my two full-length essays that are published through the Parisian portal entitled The East European Film Bulletin (EEFB) are more exhaustive and focus upon my academic interest with Polish cinema. They are as follows:
1) Love and Sensation: A Brief Examination of Some Trends in Polish Comedy Films since 2005 (Published: 23/03/2015) – This piece looks at data surrounding the most financially successful Polish comedies of the last decade, since the formation of the Polish Film Institute (PISF). It suggests formal and aesthetic linkages between these films and examines why few, if any, of them have been successfully exported.
Love and Sensation: Polish Comedy since 2005
2) Agnieszka Holland: Transitioning Between Televisions (Published: 07/06/2015) – Focusing upon Holland’s little-acknowledged television work within multiple regions (Poland, US, France, Czech Republic), the article examines this output as a site of transnational transitioning. Holland takes her experiences and training within Czech and Polish State television during the communist period and transitions elements of their aesthetics and operating procedures into the French and US systems. What is more her experiences in the US, particularly with HBO, then enable her to return to the contemporary Polish and Czech television environment with new formats for ambitious drama series.
Agnieszka Holland: Transitioning Between Televisions
I can strongly recommend both websites as sources for interesting and incisive film writing and hope that you will not only look over my articles listed above, but explore the works of some of my colleagues upon these publications.