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Founded in 1962 and originally released as a quarterly, Film Comment features reviews and analysis of mainstream, art-house, and avant-garde filmmaking from around the world.

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Summer 1972

Elia Kazan’s America, Stockholm journal, Elia Kazan interview, Ernst Lubitsch’s Thirties films, Penelope Gilliatt interview, special midsection on cameramen, Carl Dreyer, Jacques Tourneur, Douglas Sirk’s Imitation of Life

Spring 1972

Paul Schrader on film noir, Robert Aldrich interview, Cuban cinema, Klute, Dziga Vertov midsection, George Cukor interview

Winter 1971–1972

Jean Cocteau, Stanley Kubrick interview, paranoia in Hollywood, Jacques Demy, Ernst Lubitsch in the Thirties, lost films, Alice AdamsHappiness, Robin Wood

Fall 1971

John Ford’s late films, Alexander Dovzhenko, Roger Corman interview, Willard Maas interview, Monkey BusinessLove Affair and An Affair to Remember, Jean-Luc Godard, Jean-Pierre Gorin, and Gérard Martin’s Wind from the East

Summer 1971

André Bazin and long takes, special sections on F.W. Murnau, Orson Welles, and Max Ophuls

Spring 1971

Yasujiro Ozu, François Truffaut, Bruce Baillie, visual anthropology, Margaret Mead, Tim Asch, James Whale, Andrew Sarris on The Searchers

Winter 1970–1971

Special issue on screenwriting, Borden Chase interview, James Poe interview, Anita Loos, Ben Hecht, Dudley Nichols, Preston Sturges in the Thirties

Fall 1970

Andrew Sarris on the auteur theory in 1970, Ken Russell interview, Milos Forman interview, David Bordwell on The Circus, Paul Jensen on Frankenstein, Richard Koszarski on Trouble In Paradise, Molly Haskell on Stage Fright, Stephen Farber on Lilith, William Pechter on The Wild Bunch, Bette Davis and William Wyler

Summer 1970

Special issue on film in Sweden, Ingmar Bergman on his filmmaking process, Greta Garbo, Duet for Cannibals, Victor Sjostrom

Spring 1970

Arthur Barron, Boris Karloff,  Ingmar Bergman and E.T.A. Hoffman, young German film, Ernst Lubitsch

Winter 1969

2001: A Space Odyssey, Bruce Conner, Sidney Poitier, Guess Who’s Coming to Dinner, For Love of Ivy, Charlie Chaplin’s Monsieur Verdoux, John Schlesinger, student films, an appreciation of Max Ophüls, reviews of Pauline Kael’s Kiss Kiss Bang Bang and Andrew Sarris’s The American Cinema, Directors and Directions 1929-1968

Fall 1969

Film preservation at the Musem of Modern Art, Eadweard Muybridge’s contribution to the motion picture, the serious business of being funny, student film production, Warrendale, Titicut Follies, television breaks a new art form, Bergamo festival

Spring 1969

Film in China, Uzbek documentaries, the works of and interview with Susumu Hani, Vietnam War films and documentary photography

Fall 1968

Roman Polanski, Jerzy Skolimowski, a tribute to Boris Barnet, building Soviet movie theaters, Serge Parajanov on Shadows of our Forgotten Ancestors, Evelyn Gerstein on Ivan the Terrible, Czechoslovakian cinema, Istvan Szabo interview

Summer 1968

Extensive Satyajit Ray interview, The Face of a Genius, experimental film, the history of the National Legion of Decency, a debate on the controversial Catholic school documentary Every Seventh Child

Fall-Winter 1967

Kennedy and Warren Commission documentaries, A Time for BurningTroublemakers, Gerald Temaner and Gordon Quinn’s Home for Life, Ingmar Bergman’s Persona, interview with Bergman, interviews with Jean Rouch, direct cinema, Japanese underground film

Fall 1966

Propaganda films about the war in Vietnam, Viet Cong Films, Why Vietnam?, The Rising Storm, While Brave Men Die, Dziga Vertov, Eliza Kazan and HUAC, Cannes, Carl Theodor Dreyer interview, Federico Fellini interview, review of Chaplin’s autobiography

Fall 1965

Special section on Pier Paolo Pasolini, The Gospel According to St. Matthew, Peter Watkins interview, the Hollywood Blacklist, pornography in film

Summer 1965

Ralph Nelson interview, Otto Preminger, Francois Truffaut,  Tokyo Olympiad, editing cinéma vérité, the film lectures of Slavko Vorkapich, civil liberties, La Peau DouceUne Femme MariéeLe Bonheur

Spring 1965

Robert Rossen, Michael Roemer, Robert Young, Richard Leacock interview, Willard Van Dyke interview, Letters from The River, Jacques Demy’s The Umbrellas of Cherbourg, Ingmar Bergman

Winter 1965

Extensive consideration of Leni Riefenstahl, contemporary German film, Hiroshi Teshigahara’s Woman in the Dunes, Michelangelo Antonioni’s Red Desert, Michael Roemer’s Nothing but a Man

Fall 1964

The second New York Film Festival by Andrew Sarris, Roberto Rossellini, the BFI, the Maysles Brothers discuss Cinéma Vérité, the Spanish film scene, Venice Film Festival, Bruce Baillie, Gregory Markopoulos, film censorship and exhibitors

Summer 1964

Anniversary awards winners, Ernest Pintoff, Moravia on Italian Film, the death of Mickey Mouse, Carl Foreman in Israel, toward visual cinema, Věra Chytilová’s Something Different, Mario Monicelli’s The Organiser, Ingmar Bergman’s The Silence, Nelson Perreira Dos Santos’s Vidas Secas, Jacques Demy’s The Umbrellas of Cherbourg, François Truffat’s The Soft Skin

Spring 1964

Exploitation films, children’s film, the Maysles brothers and “direct cinema,” Cannes, interview with Shirley Clarke, cinematic politics, filmmaking in Bulgaria, film censorship in the nation’s capital