​Americanilienalyzation: America, Alienation, Analysis, Lacan, and Castration in Sean Baker’s Anora (2024)

written by Owen Bromley
Ani, by way of her two names, evokes the condition of the split subject. The split between Ani and Anora, American and Russian, Being and existing (also realized as Being and meaning). It is the split which separates us from the reservoir of jouissance and forces us to live by the signifier; essentially, castration."

Representations and Ethics in the Film Archive: A Study of the Lesbian Home Movie Project

Written by Chloe Deschamps
In the very marrow of the syntax, archives allude to power and authority. However, in practice, the act of archiving holds onto the potential to rupture notions of archival authority and become sites of transformation, heterogeneity, and deterritorialization."

The Construction of Radical Black Subjectivity:
Responding to Filmic Looking Relations with Formal Innovation

Written by Emma Dahl
Refusing to identify with the practices that serve to erase and reduce the cinematic presence of black people — particularly black queer women — The Watermelon Woman and Bush Mama innovate and challenge existing formal languages to develop new identities, histories, and stories."

The Time is Now
An Analysis of the Depiction of Time in the Films of Richard Linklater

Written by Jocelyn Illing
​Linklater’s cinema combines form and content to explore the human experience of time, thus prompting the audience to question both how time is functioning within his films and how time affects us in our everyday lives. 

Paris Three Ways:
A Comparison of the Depiction of Paris in Jean-Pierre Jeunet’s Amélie (2001), François Truffaut’s The 400 Blows (1959) and Mathieu Kassovitz’s La haine (1995)

Written by Jocelyn Illing
Jeunet’s tries to construct his own Paris, or to conceal its contents, Truffaut chooses to present Paris in a broader sense, through the eyes of a child. Finally, and most radically, Kassovitz’s film reveals a side of Paris often ignored by cinema: the banlieue.

When Did They Get So Fast? 
 An Analysis of Allan Cameron’s “Zombie Media: Transmission, Reproduction, and the Digital Dead”

Written by Jocelyn Illing
The evolution of the zombie in the horror film has aligned itself with the changes in technology, with the zombies becoming stronger and faster as we move from the analog and the digital, creating a new, contemporary zombie film.

​David Lynch and the Actualization of the Virtual

Written by Elias Stang
​One particularly interesting idea one can attribute to these films, specifically Mulholland Drive is that of Gilles Deleuze’s work on the time-image and the Virtual. This paper intends to identify in what specific ways Mulholland Drive expresses Deleuze’s philosophy of a direct time-image and how it invokes the idea of the Virtual as an approach which favors Lynch’s more unconventional style. 

An Analysis of the Lack of Independent Sequels
in Relation to Richard Linkater’s Before Trilogy

Written by Jocelyn Illing
​Independent films often comment on society and include controversial topics that aren’t normally fleshed out in mainstream films. However, although we have become aware of the independent film, what is rarely discussed is the idea of an independent sequel or series. 

Horror. Terror. Lynch.

Written by Anton Charpentier
​By defining horror and terror as two separate terms; horror describing the potential phycological trauma and terror describing the physical embodiment of danger. I hope to assert that Lynch is not only unique to the genre but in fact a realization of what the genre should be.

A Circuit Board of Worlds: Electricity in the Works of David Lynch

Written by Zach Green
Electricity is a frantic, affective motif that frequently acts as a bridge to “incompossible worlds” at play in Lynch’s films. Thematically, sequences of flashing lights often have a strong connection to domestic abuse and patriarchy, as the play of light and dark evokes the conflict of male and female, abuser and survivor. Using a Deluzian framework, this paper will chart the use of electricity across three distinct areas of Lynch’s filmography.

The New French Extremism and Fat Girl: Violence, Sensation, and Dread

Written by Erin Shanks
In many other ways, Breillat’s Fat Girl deviates from much of the description and discussion of New French Extremism. Throughout this paper, I will tackle how Fat Girl is simultaneously a part of New French Extremism and how it differs.

Call for Submissions

Did you get a A or an A+ on your last film essay. Why not share your great work with the rest of the U of C film community! We're interested in growing an academic based section of Crash/Cut, where you can find researched articles on some of the most interesting film out there.
If you have an essay you'd like published, please click the button below for instructions on how to submit.

Explore

Blog
Crash/Cut
​Submissions
Cinema Politica
​Join

About

About
Executives
Film Studies

Support

Contact
FAQ

Partners
© COPYRIGHT 2019. ALL RIGHTS RESERVED.