Between 1908 and 1927, when sound film became standard, numerous American publications for both those involved in the film industry and the general public, such as Moving Picture World, Motion Picture News, and Exhibitors Herald, included regular columns by cinema conductors, composers, and arrangers like Samuel Berg, Ernst Luz, and Clarence Sinn…[Read more]

The silent film era, usually defined as 1895-1927, coincided with a revival of belief in spiritualism in America. Desperate to find meaning in the deaths of the Great War and the 1918 Spanish Flu epidemic, the bereaved sought contact with the dead and evidence of an afterlife. Given this fascination with spiritualism, it is not surprising that the…[Read more]

The silent film era, usually defined as 1895-1927, coincided with a revival of belief in spiritualism in America. Desperate to find meaning in the deaths of the Great War and the 1918 Spanish Flu epidemic, the bereaved sought contact with the dead and evidence of an afterlife. Given this fascination with spiritualism, it is not surprising that the…[Read more]

Outlines the restoration of the Russian film classic “Man with a Movie Camera” (USSR, 1929) by Dziga Vertov which was carried out by the EYE Filmmuseum in Amsterdam between 2008 and 2010. The restoration allows contemporary audiences the possibility to once again experience Vertov’s film as the filmmaker originally intended – or at least in a v…[Read more]

Outlines the restoration of the Russian film classic “Man with a Movie Camera” (USSR, 1929) by Dziga Vertov which was carried out by the EYE Filmmuseum in Amsterdam between 2008 and 2010. The restoration allows contemporary audiences the possibility to once again experience Vertov’s film as the filmmaker originally intended – or at least in a v…[Read more]

Outlines the restoration of the Russian film classic “Man with a Movie Camera” (USSR, 1929) by Dziga Vertov which was carried out by the EYE Filmmuseum in Amsterdam between 2008 and 2010. The restoration allows contemporary audiences the possibility to once again experience Vertov’s film as the filmmaker originally intended – or at least in a v…[Read more]

This essay reads Ivan Efremov’s “Andromeda Nebula” (1957), Stanisław Lem’s “Solaris” (1961), and Angela and Karlheinz Steinmüller’s “Andymon” (1982) in order to explore the relationship between biological evolution and dialectical materialism, as it was negotiated through the trope of the alien in the context of the cultural politics of Eastern E…[Read more]

This essay reads Ivan Efremov’s “Andromeda Nebula” (1957), Stanisław Lem’s “Solaris” (1961), and Angela and Karlheinz Steinmüller’s “Andymon” (1982) in order to explore the relationship between biological evolution and dialectical materialism, as it was negotiated through the trope of the alien in the context of the cultural politics of Eastern E…[Read more]

This essay reads Ivan Efremov’s “Andromeda Nebula” (1957), Stanisław Lem’s “Solaris” (1961), and Angela and Karlheinz Steinmüller’s “Andymon” (1982) in order to explore the relationship between biological evolution and dialectical materialism, as it was negotiated through the trope of the alien in the context of the cultural politics of Eastern E…[Read more]

This essay reads Ivan Efremov’s “Andromeda Nebula” (1957), Stanisław Lem’s “Solaris” (1961), and Angela and Karlheinz Steinmüller’s “Andymon” (1982) in order to explore the relationship between biological evolution and dialectical materialism, as it was negotiated through the trope of the alien in the context of the cultural politics of Eastern E…[Read more]

This essay reads Ivan Efremov’s “Andromeda Nebula” (1957), Stanisław Lem’s “Solaris” (1961), and Angela and Karlheinz Steinmüller’s “Andymon” (1982) in order to explore the relationship between biological evolution and dialectical materialism, as it was negotiated through the trope of the alien in the context of the cultural politics of Eastern E…[Read more]

In the 2005 film Corpse Bride, director Tim Burton and composer Danny Elfman collaborate using both musical and visual signifiers to create two very different realms that the main characters must traverse: the land of the living, and the land of the dead. The characterizations of these places appear in the reverse of what a viewer might expect.…[Read more]