Propaganda films made in Nazi Germany are safely stored away only to be screened in special circumstances and in the...
Films with more than one national lineage should be called “Multinational Cinema” proposes Kees Driessen, and furthermore we should investigate...
Critics are the vanguard of spectators, writes Adrian Martin in an exploration of the question Whose Cinema from the spectator’s...
No film really has a right to exist, contemplates Gabe Klinger. A film must carve out its own existence, and...
According to Mark Cousins Cinephilia in the digital age is a form of S&M: we can be masters and slaves...
Copyright and other rights determine which films are available. Not only for journalists, but also for film lovers in general....
Cinephilia of the Internet age has produced its own form of active and productive appropriation, in the form of the...
When it comes to cinema, says film director Dietrich Brüggemann (Kreuzweg), ownership is reciprocal, like family. One might say that...
If I have to depend on the market to determine the value of what I’m doing in relation to cinema,...
Who owns the films we watch? And should they be ow ned? Jay Weissberg explores that question in relation to...
