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• Totally By Yourself In This Vast Emptiness: Ted Kotcheff on "Wake in Fright"

  TS: What was the Australian film industry like at the time? Was it similar to Canada’s or were they more developed? TK: Yeah, they were slightly more developed...

• Totally By Yourself In This Vast Emptiness: Ted Kotcheff on "Wake in Fright"

  TS: So the hyper-masculinity was a result of industry? TK: Maybe it sounds like a pathology. It’s not. There was nothing else to do. TS: Do you feel colonization played...

• Totally By Yourself In This Vast Emptiness: Ted Kotcheff on "Wake in Fright"

  In D.H. Lawrence’s novel Kangaroo he describes it perfectly. He says you’re totally by yourself in this vast emptiness and you think the landscape is watching you. And that...

• Totally By Yourself In This Vast Emptiness: Ted Kotcheff on "Wake in Fright"

  TS: It feels very authentic. TK: I did have Jack Thompson who was a terrific actor and became a minor star. He worked in Hollywood and was in...

• Totally By Yourself In This Vast Emptiness: Ted Kotcheff on "Wake in Fright"

  TS: Wake in Fright has been described as a horror film or a sort of horror-western. Was your approach to make it as a genre film?  TK: No, I...

• Re-presentations, Adaptations, and VARIATIONS

  Although it is actually quite boring and reductive to do so, we still tend to cling to the idea of an artwork as a unique, singular, and exclusive...

• Who Can Save the Brides of Billy?: Horror and Gender in "Black Christmas" and "The Bloody Chamber"

  The telephone—a device that reinforces the theme of seeing/not-seeing—is the focus of some of the most terrifying scenes in Black Christmas, turning the killer into a bodiless, transcendent voice,...

• Slay, Okay

  It is with the much-discussed visual album’s disorienting ambition to simultaneously “challenge the ongoing present day devaluation and dehumanization of the black female body” and “to seduce, celebrate, and...

• An object is a slow event.

  Based now in Mexico City after having spent the last several years studying at Edinburgh College of Art and at CalArts in Los Angeles, De Laborde’s practice has evolved...

• Every Movie is a Ghost Story: an interview with Gemma Files

  Murray Leeder: Experimental Film joins Walker Percy’s The Movie-goer, Theodore Roszak’s Flicker, Steve Erickson’s Zeroville and others in the peculiar category of literary fiction about cinema, and even invokes a kind of “cinematic” quality in its section headings. How...