Featured
Film is an art form that is resistant to stability. Every so often, it dies and then resurrects itself. Kinoculture proposes offering a reading on film as a medium or socio-political apparatus, thoroughly considering and capturing cinema’s contingent emotional, personal, and cultural possibilities—film as art.
Kinoculture is a publication that offers such an opportunity without imposing editorial boundaries, leaving space for convergence and contradiction.
By Annette Insdorf
I am pleased to introduce readers to Kinoculture, a new venture created by Columbia University film students. The publication offers the opportunity for informed cinephiles to discuss motion pictures, their creators, and the questions raised onscreen. Whether from a historical, theoretical, or close-analytical perspective, this publication invites serious consideration of how cinematic language is used to tell a compelling story.
By Breixo Viejo
Before becoming one of the major cinematographers of modern cinema, Néstor Almendros (Barcelona, 1930 - New York, 1992) worked as an experimental and documentary filmmaker in the United States, Cuba, and France. One of his short films, Fifty-Eight/Fifty-Nine (1959), believed to be lost, has recently been found at the Cinémathèque québécoise.
By Kaveh Jalinous
Paris’ Gaumont Champs-Elysées is gone. Its six theaters, spread over three floors, sit empty. Its 1,597 seats have been occupied for the last time. Its lights are dimmed. Its doors are sealed. With its deceptively hidden entrance–on a crowded sidewalk, sandwiched between open and shuttered storefronts, maybe no one has even noticed. But for those who frequented the French national chain’s cinema–the equivalent to Times Square’s AMC, albeit much smaller–the empty marquee is devastating.
By Behrang Garakani
Panahi, an Iranian director repeatedly arrested for his artistry, crafted this film under house arrest, clandestinely challenging the constraints of the Islamic regime. Let me guide you through this landscape from my vantage point as an Iranian immigrant living in a society freer than Panahi's.