by Shelby Shaw I began working in the film industry while studying film and video at the School of the Art Institute of Chicago, renowned for its conceptual approach to art. In this way I was receiving both a DIY-underground…

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by Marc Olmsted via GIPHY   In 1979, film critic Robin Wood collected his essays on the horror films of that time and called his book American Nightmare.  His thesis examined how the traditional horror film enacted the Freudian “return…

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by Joseph Dwyer Scenarios of worker and student strikes, mass protest, and general dissent became common sights in European cinema surrounding the international political unrest of 1968. Jean-Luc Godard directed La Chinoise and Weekend, both 1967. Pier Paolo Pasolini took…

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by Gerry Fialka and Will Nediger   Like Craig Baldwin, Raoul Peck incites new questions to ponder with challenging juxtapositions like the lovely song Fascination (from Billy Wilder’s Love In The Afternoon) with footage of Rodney King’s beating. James Baldwin…

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by David Cox David Cox appears at Other Cinema’s 3/26 show, Psychogeography 1.   The Holocene is over and the Anthropocene defines our epoch. Humankind’s irreparable and irreversible influence on the face of the planet will totally define its fate…

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by Marc Olmsted Who could have foreseen the security camera’s Warholian static shot or robotic pan being absorbed as signifiers in commercial horror films?   Michael Snow’s Wavelength could cease to make sense as a cerebral art joke in the future.…

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by Mike Mosher Inspired by a book, this is going to be a sentimental journey, where I tip my hat to great ladies once near, and some far away, yet who memorably caressed me with print and cinema. Beyond my…

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