To read what has never been written, to put the institution back in motion, to subtract tradition from conformism – as Benjamin suggested – has always been the vocation of this journal. As Michel Serres would say: write texts of which you are not the author. To think of a new subjectivity (agency) that invades the human and nonhuman, and also, why not, starting from the old querelle about authorship/discourse, or signature/system. Is Lang an author? And Walsh isn’t? It’s obvious that we are beyond all this.

Carlos Losilla, Introducción: el mundo que fue, el que creemos que es y el que puede ser

Quim Casas, Peter Bogdanovich: tan lejos de Raoul Walsh y tan cerca, aunque esquinado, de Fritz Lang

María Adell, De Joan Bennett a Cybill Sheperd

Mireia Iniesta Navarro, El otoño de la épica

Toni D’Angela, Carattere, destino e simulacro: Walsh, Lang e Bogdanovich

Toni D’Angela, Character, Destiny, and Simulacre: Walsh, Lang, and Bogdanovich

ilsosia09, kiss kiss bang bang

Mark Rappaport, Confessions of a Movie Extra

Rick Warner, The Ambient Landscape

Vincent Jacques, Borges et le cinéma

Cátia Rodrigues, O que resta do rosto ou do rosto que resta

Denilson Lopes, Mário Peixoto and another Modernism

Bárbara Bergamaschi,  Interview with Peter Tscherkassky

Tom Conley, Lire et voir dans La Danse rouge

R. Bruce Elder, Plotinus, Woman’s Art, Electrology

Genito Gomes, Jhon Nara Gomes and Luciana de Oliveira, Ape tipo ijoja ñande ñe’ē. Here we put together our words

Bruce Jenkins, Hollis Frampton’s Autumnal Equinox: A Modernist Film and Its Pictoral Past

Bogdanovich simulates the original, rather than maddening it, introduces even subtle slippage so that his cinema is not only a gaze at things — transparent as in the meaning of Hollywood classicism — but also informed by perceptive patterns, by visual and cultural patterns: his gaze is charged with the theory and history of cinema.

Qu’attire tant Borges au cinéma ? Il adore les histoires, on y reviendra longuement, il y cherche aussi un certain dépaysement. Ainsi écrit-il dans l’une de ses critiques : « Entrer dans une salle de cinéma de la rue Lavalle et me trouver (non sans surprise) dans le golfe du Bengale ou dans Wabash Avenue vaut mieux, me semble-t-il, que d’entrer dans cette même salle de cinéma et me trouver (non sans surprise) dans la rue Lavalle ».

This excerpted material follows from earlier chapters in the book in which I sketch out a flexible morphology of suspense, one that includes art cinema, encompasses a wide range of speeds and intensities, and goes beyond simply defining suspense as a genre unto itself.

De proportion épique, La Danse rouge (1928), l’ultime d’une cinquantaine de films muets qu’a tournés Raoul Walsh depuis 1912 jusqu’à l’avènement du talkie, se situe à l’ombre des chefs-d’œuvre bien connus, tels Regeneration (1915), The Thief of Bagdad (1925), ou Sadie Thompson (1928).

A historical piece by Bruce Jenkins about Hollis Frampton’s Autumnal Equinox.

Preâmbulo O que o rosto expõe e revela não é algo que possa ser formulado em proposições com sentido nem é um segredo condenado a permanecer para sempre incomunicável. A revelação do rosto é a revelação da linguagem em si mesma. Tal revelação, portanto, não tem nenhum conteúdo real e não diz a verdade acerca deste ou […]