Columns

The long shadow: reading the superhero film through Siegfried Kracauer‘s classic text

“Darkness embossed by silvery images”: the New York-School poet had a rapturous relationship with the cinema

Show, don't tell: As in the silent period, the idea that the camera might move like a person took different forms in the 1930s

Learning to see: a reflection on a family's complex relationship with moving images

Face off: a conversation about Jordan Peele’s Us and issues of horror, race, class, and criticism itself

Big night: Midnight in Paris documents the run-up to prom night at a majority-black public school, and finds promise in the banal

Split ticket: how Hollywood insiders socially construct audiences by strategically targeting specific racial demographics

American horror story: Millie Perkins’ performance buoys this would-be exploitation flick, treating the material as Greek tragedy rather than lurid pulp

See no evil: what does it mean to proclaim something “unwatchable,” whether disturbing, revolting, poor quality, tedious, or literally inaccessible?

New Hollywood: Mexican-born critic and playwright Gabriel Navarro brought together a rich world of uniquely Mexican-American culture in the first decades of the 20th century