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ARTICLE
Subtitled and Silent Films
By
Dora Stewart
ESSAY
In the Perceptible Field
By
Catherine Elwes
REVIEW
Do Fish Have Dreams?
By
Almendra Maria Mcbride Perez
ARTICLE
The Hours Is Not a Film
By
John Bradburn
ARTICLE
The Maltese Double Cross: Allan Francovich’s Film on Lockerbie and the CIA
By
Michael Chanan
ARTICLE
Genealogies of Film's Ruination: The Cinemas of Los Angeles' Broadway
By
Stephen Barber
ARTICLE
BFI Films: A Remit for Cultural Diversity
By
Jane Giles
ARTICLE
Filming in Hot Sun: Kenya, Kibera and the Power of the Image
By
Piotr Cieplak
REVIEW
The Animals Film: Telling it Like it Is
By
James Norton
MANIFESTO
The Filmmaker as Symbiont
By
Manu Luksch
|
Mukul Patel
ESSAY
Moment by Moment by Moment: Reflections on Jonas Mekas’ 365 Films
By
Tom Smith
ARTICLE
Holding Patterns and Long Tails: Benten Films and the Distribution of the Future
By
Ben Slater
ARTICLE
Three Exercises in Symmetry: Marcel Carné and Filmic Formalities
By
Dai Vaughan
ARTICLE
All my Eye and Aristotle: Editing European Films
By
Roger Crittenden
INTERVIEW
Close Up on a Field without Definition
By
David Curtis
|
Gary Thomas
|
William Raban
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