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ARCHIVE

  • ‘Nouvelle Vague’ (2025): A Revolutionary Glance Back in the Name of Godard
    1st Dec 2025

    ‘Nouvelle Vague’ (2025): A Revolutionary Glance Back in the Name of Godard

    Rino Lu
  • What It Sounds Like: Experiencing Fandom and Fulfilment Through ‘KPop Demon Hunters’ (2025) 
    4th Sep 2025

    What It Sounds Like: Experiencing Fandom and Fulfilment Through ‘KPop Demon Hunters’ (2025) 

    Hayley Paskevich
  • Embracing The Unknown: Christopher Nolan and The Arrow of Time
    19th Apr 2024

    Embracing The Unknown: Christopher Nolan and The Arrow of Time

    becky303
  • From the Perspective of Perpetrators: The Complexity of Complicity in Modern Media
    24th Mar 2024

    From the Perspective of Perpetrators: The Complexity of Complicity in Modern Media

    ellislamai
  • To What End Does ‘Avengement’ (2019) Write Itself Out of a Corner?
    17th Feb 2024

    To What End Does ‘Avengement’ (2019) Write Itself Out of a Corner?

    Karino C. Emmanuel
  • ‘Tombstone’ (1993) Turns 30: Why We Still Love It Today
    16th Feb 2024

    ‘Tombstone’ (1993) Turns 30: Why We Still Love It Today

    Robert Barger
  • Leaving Hollywood: Critiquing the American Dream in ‘Night on Earth’ (1991)
    17th Dec 2023

    Leaving Hollywood: Critiquing the American Dream in ‘Night on Earth’ (1991)

    Callum McGrath
  • ‘Skinamarink’ (2022) as Ergodic Filmmaking
    4th Nov 2023

    ‘Skinamarink’ (2022) as Ergodic Filmmaking

    Red Broadwell
  • ‘Priscilla’ (2023) Paints a Delicate Portrait of Girlhood in Graceland
    2nd Nov 2023

    ‘Priscilla’ (2023) Paints a Delicate Portrait of Girlhood in Graceland

    Jennifer Maxwell
  • “To Become Free”: The Violence of Growing Up in ‘Stoker’ (2013) and ‘Sharp Objects’ (2018)
    31st Oct 2023

    “To Become Free”: The Violence of Growing Up in ‘Stoker’ (2013) and ‘Sharp Objects’ (2018)

    Nirica Srinivasan
1 2 3 … 32
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