The fourth issue of “Conversations: The Journal of Cavellian Studies”, which explores Cavell’s philosophic interest in literature, an oft-repeated and rehashed thematic prism and vantage point from which to address Cavell’s work. However, it is our feeling that, at times anyhow, Cavell’s interest in Wittgenstein and film dwarfs slightly his liter…[Read more]

For the inaugural issue of “Conversations: The Journal of Cavellian Studies”, we solicited papers discussing Stanley’s autobiographical writings. To mirror types of conversations, we asked for both short and long (though we received mostly the latter).

For the inaugural issue of “Conversations: The Journal of Cavellian Studies”, we solicited papers discussing Stanley’s autobiographical writings. To mirror types of conversations, we asked for both short and long (though we received mostly the latter).

The idea of a sci-fi ghetto that “Battlestar Galactica” tried to escape from suggests a fruitful way of analysing the show. Genres, especially those that are popular simultaneously in television and film, are defined and definable through a repertoire of elements: characters, plot, setting, iconography, and style. Since the focus of this cha…[Read more]

The idea of a sci-fi ghetto that “Battlestar Galactica” tried to escape from suggests a fruitful way of analysing the show. Genres, especially those that are popular simultaneously in television and film, are defined and definable through a repertoire of elements: characters, plot, setting, iconography, and style. Since the focus of this cha…[Read more]

If Guy Maddin were a scientist, he would be a mad scientist. Perhaps, then, he is a mad artist, effusively mixing images that appear to come from the silent era and sounds that seem to come from the first talkies. The metaphor is apt—and not just because of the weird, frenzied scientist father in “Brand upon the Brain!” (2006). It is apt becau…[Read more]

If Guy Maddin were a scientist, he would be a mad scientist. Perhaps, then, he is a mad artist, effusively mixing images that appear to come from the silent era and sounds that seem to come from the first talkies. The metaphor is apt—and not just because of the weird, frenzied scientist father in “Brand upon the Brain!” (2006). It is apt becau…[Read more]

If Guy Maddin were a scientist, he would be a mad scientist. Perhaps, then, he is a mad artist, effusively mixing images that appear to come from the silent era and sounds that seem to come from the first talkies. The metaphor is apt—and not just because of the weird, frenzied scientist father in “Brand upon the Brain!” (2006). It is apt becau…[Read more]

This analysis of the HBO television series ‘Carnivàle’ focuses on its overarching style as well as on its abrupt ending after two seasons.

This analysis of the HBO television series ‘Carnivàle’ focuses on its overarching style as well as on its abrupt ending after two seasons.

This analysis of the HBO television series ‘Carnivàle’ focuses on its overarching style as well as on its abrupt ending after two seasons.

This essay focuses on moments that stress the significance of inhabitation (of living in a space and finding a place in it) and duration (of experiencing time and valuing it) in classical American sitcoms. “Sitcom” is short for situation comedy and it is usually defined as a type of series in which an established set of characters are involved in…[Read more]

This essay focuses on moments that stress the significance of inhabitation (of living in a space and finding a place in it) and duration (of experiencing time and valuing it) in classical American sitcoms. “Sitcom” is short for situation comedy and it is usually defined as a type of series in which an established set of characters are involved in…[Read more]

The encounter in the 1960s and 70s between Marxism and film studies, as an institutionally recognised academic field, was a radically incomplete and perhaps even a rather superficial and unsatisfactory affair. The work of cross-fertilisation between Marxism and film and their critical sifting of concepts and perspectives had hardly begun when for…[Read more]

The encounter in the 1960s and 70s between Marxism and film studies, as an institutionally recognised academic field, was a radically incomplete and perhaps even a rather superficial and unsatisfactory affair. The work of cross-fertilisation between Marxism and film and their critical sifting of concepts and perspectives had hardly begun when for…[Read more]