Cinema Year Zero

Ren Scateni on the last part of Seijun Suzuki’s Roman Trilogy.

Fedor Tot breaks down Lazar Stojanović’s scathing attack on Yugoslav government.

Alonso Aguilar on one of the last works of Italian Neorealism.

Anna Devereux on Jacqueline Audry’s landmark lesbian film.

Patrick Preziosi on the deceptively varied career of Raoul Walsh.

Ben Flanagan gives the lowdown on 1931.

Cathy Brennan discusses the feminine undertones to Shakespeare’s most iconic protagonist.

Tom Atkinson muses on the philosophy of silent film viewing on YouTube.

Joseph Owen explores the camera apparatus in three early silent shorts.

Ben Flanagan searches for the modern day Mae West.

Joseph Owen finds the link between a Cannes competition player and the most infamous of all pre-Code films.

An introduction to our sixth volume.

Ruairí McCann studies a William A. Wellman feature publicised as being "Not for Children".

Ioanna Micha connects the bizarre dots between the 2017 animated film and the Shirley-Temple starring 1930s Baby Burlesks.

Cathy Brennan on the double-edged sword of Marlene Dietrich and Josef Von Sternberg's collaborations.

Ellisha Izumi applies the Code to a controversial remake of Godard's classic.

Tom Atkinson on Katharine Hepburn's transition from pre-Code to Code-era matrimonial narratives.

Kirsty Asher on the genealogy of the Blonde Bombshell, beginning with Jean Harlow.

Paddy Mulholland identifies Britishness in the films of Andrew Kötting.

Anna Devereux on the colonisation of Irish actors.