Episode 41: Victim (with writer David Blakeslee)

by Dario Llinares

Dario is joined by film lecturer Douglas McNaughton at the Electric Palace to screen Basil Dearden's profound drama Victim (1961), starring the magnetic Dirk Bogarde and the superb Sylvia Sims. In many ways a film ahead of its time dealing with the social implications of homosexuality in a time when it was still illegal and a taboo subject. On its release in the United Kingdom it proved highly controversial to the British Board of Film Censors, and in the U.S. it was refused a seal of approval from the American Motion Picture Production Code. Dario also speaks to writer and podcaster David Blakeslee who has written about the film for his Criterion Cast blog.

Show Notes

The Eclipse Viewer Podcast: http://criterioncast.com/category/podcast/eclipse-viewer

David Blakeslee's contributor's page at Criterion Cast: http://criterioncast.com/author/davi  and Criterion Reflections blog (1921 through 1967): http://criterionreflections.blogspot.com/



Episode 40: Feminist Surrealism and Film (with Dr Sabina Stent & Dr Felicity Gee)

by Dario Llinares

Neil is joined at Falmouth University's School of Film & Television by Dr Sabina Stent (@SabinaStent) and Dr Felicity Gee (@fiandshoegaze) to discuss feminist surrealism and film. The event took place in front of students, staff and local filmmakers and artists and was a wide-ranging discussion that was invigorating and illuminating. Also, the talk of a personal politics of resistance was much needed in these troubling times.

This episode is presented in association with Mubi to coincide with their season dedicated to experimental and independent female filmmakers. Filmmakers whose work is screened as part of the season include Chantal Akerman and Agnes Varda, prominent figures in the podcast discussion. The season starts Friday March 3rd and in addition to those mentioned above showcases work by Anna Biller, Celine Sciamma, Lena Dunham, So Yong Kim and Cinematologists favourite Ida Lupino. We screened and discussed Lupino's The Hitch-hiker for an earlier episode. 


Below you will find links to work that was screened as part of the event:

Backcomb by Sarah Pucill (1995)

Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles by Chantal Akerman (1975)

Self Obliteration by Yayoi Kusama (1967)

Nadja a Paris by Eric Rohmer (1964)

The Seashell and the Clergyman by Germaine Dulac (1928)

Link to other clips discussed on the show

Lauren Elkin's Website

Episode 39: Eyes Without a Face (with academic Matt Smith)

by Dario Llinares

Dario is joined by Film Theorist Emre Caglayan at the Electric Palace in Hastings to screen and discuss Georges Franju's classic surrealist inspired horror Eyes Without a Face. A truly influential film Eyes Without a Face is often placed alongside Psycho and Peeping Tom as examples of art-house director exploring the horror genre and the film still possesses a sense of unsettling eeriness. 

Dario also interview Matt Smith an academic from Georgia State University in Atlanta to discuss the influence of the Eyes Without A Face on new extremist cinema on France at the end of the 20th century. Neil and Dario expand on Franju's legacy as a filmmaker in the French canon.

You can watch Eyes Without a Face on Youtube.

Episode 38: Robocop

by Dario Llinares

There's some soul searching in this episode as Neil and Dario try and figure out how and why to watch cinema with the world in such a state of flux. Thankfully, the film under focus is apt for this purpose. Down in Falmouth Neil and Kingsley screen and discuss a seminal childhood film for all involved, a film that seems more prescient that ever: Paul Verhoeven's 80s sci-fi classic Robocop.

It seems the enduring relevance of Robocop is on other people's minds at the moment. Check out Abraham Riesman's recent piece for Vulture here.

Also, for more discussion about cinema in an age of repression and confusion and why film matters, check out this brilliant Film Quarterly panel hosted by the Film Society of Lincoln Center. Vital listening for these tumultuous times. 

Episode 37: Essay Film Now

by Dario Llinares

For this episode, The Cinematologists were invited to cover the Arts Foundations Essay Film prize and an event they are hosting entitled Essay Film Now. Dario interviews the shortlisted filmmakers Charlie Lyne, Marianna Simnett, Samuel Stevens and Sarah Wood about their work and their thoughts on essay film as a cinematic and artistic practice. Dario also talks to the Art Foundation director Shelly Warren and with Sophie Mayer, a writer, poet and film critic about the history, political and philosophy underpinning the essay film as a form.







Episode 36: 2016 review

by Dario Llinares

In this end of year special Neil and Dario ruminate on their highlights and lowlights of 2016s films. To all our listeners we wish you a happy holiday season and all the best for 2017.

Episode 35: Gremlins (plus an interview with Lola Landekic)

by Dario Llinares

Neil and Dario are joined by Cornish filmmaker Mark Jenkin at the Newlyn FilmHouse to discuss Joe Dante's riotous comedy-horror Gremlins. The experience of watching in the auditorium is a central topic of conversation as Gremlins seemed to provoke nostalgic feelings of cinema in the 80s. Chrismas films, good, bad and indifferent, are also discussed and Neil speaks to Art of the Title's Lola Landekic in a fascinating interview about the aesthetics and meaning of titles and title sequences. 

Episode 34: The War Room (with filmmaker George Amponsah)

by Dario Llinares

In this week's episode Neil and Kingsley introduce Pennebaker and Hegedus' observational documentary The War Room. The film covers Bill Clinton's campaign against George H.W. Bush focusing on the role of campaign chiefs James Carville and George Stephanopoulos and, in the wake of the recent election, it remains an extreme prescient work. Neil also interview filmmaker George Amponsah about his recent documentary The Hard Stop. This hard hitting account of the death of Mark Duggan from the perspective of two of his closest friends.

Show Notes

Dario's blog on Maron and podcast/radio antagonism

Video Essay by Ian Garwood

George Amponsah

Waking up podcast with Sam Harris

Episode 33: Lost in Translation (with Melody Bridges and Violet Lucca)

by Dario Llinares

In this bumper episode Dario is joined by writer, filmmaker and festival director Melody Bridges to discuss Sofia Coppola's Lost in Translation starring Scarlett Johansson and Bill Murray. The screening took place at the fabulous Kino Theatr in St. Leonard's and features some lively views as to the reading of the film. Also, Neil interview's Violet Lucca the digital editor of Film Comment and presenter of the Film Comment podcast.

Episode 32: Knowing Sounds: Podcasting as Academic Practice

by Dario Llinares

Knowing Sounds is an experimental podcast exploring the possibilities and outcomes of using the podcast medium as a creative practice underpinned by conceptual thought to produce and disseminate academic research. The podcast, which more specifically can be defined as an audio essay, is split into three sections. The first is an experimental collage of music, dialogue and sound effects from a selection of films interwoven with excerpts from audience members who attended The Cinematologists live screenings. It is designed to open up questions as to the potential for a sonic landscape to tap into the ‘cinematic imagination’ without the use of images. We thus play with aural engagement creating a space for the listener to actively negotiate the binary between the abstract emotions and intended rational meaning inferred through listening. The second section is a spoken analysis of the potential of podcasting as an academic form exploring how the mechanics sound production and dissemination in the digital age can challenge the powerful logocentric link between knowledge and writing. We also interrogate the structural formation that, paradoxically, has given rise to the ubiquity of podcasts in mainstream culture but has undermined its potential development. Furthermore, interweaving illustrative references, we analyse specific film podcasts and how they utilise a developing grammar of sonic writing to expand cultural discourse. The final section brings together other contributors to the journal of disrupted media practice commenting on their alternative methods of production and exhibition aimed at unsettling assumptions about the relationship between practice and theory.