For our final episode of season 17, before we go on our summer hiatus, we lean into cinematic pleasure. Provoked by both of us admitting some recent struggles with the relentlessness of film culture, the seeming tyranny of "so much stuff" and the some of the less edifying aspects of film discourse, we think through the hierarchies that are often attached to certain types of pleasure. Dario quotes from an academic article by Rutsky and Wyatt - Serious Pleasures: Cinematic Pleasure and the notion of Fun - which makes pleasure distinct from notions such as joy, fun, distraction and escapism. A key question question arises through the discussion: is a 'pure' form of pleasure beyond a context of either aesthetic intention or ideological meaning, even possible, when "enjoying" a film? As this is the last episode of the season, we also share some summer recommendations for you to dive into with different registers of filmic pleasure in mind. Neil's Fun Times The Big Lebowski  Pacific Rim Day of the Outlaw Odds Against Tomorrow Stop Making Sense Jarmusch Double Bill of Down By Law/ Ghost Dog: Way of the Samurai Le Samourai Branded to Kill Anything by Joe Dante (The Burbs, Matinee, Gremlins) Quiz Show Inherent Vice Dario's delights Butch Cassidy and the Sundance Kid Dirty Rotten Scoundrels The Hard Way A Few Good Men Training Day Nightcrawler Thelma and Louise True Lies Mission Impossible: Rogue Nation Paterson All is Forgiven Cold War --- You can listen to The Cinematologists for free, wherever you listen to podcasts: click here to follow. We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: https://www.patreon.com/cinematologists. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and sharing on Social Media is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists’ Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass &amp; guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing 

For our final episode of season 17, before we go on our summer hiatus, we lean into cinematic pleasure. Provoked by both of us admitting some recent struggles with the relentlessness of film culture, the seeming tyranny of "so much stuff" and the some of the less edifying aspects of film discourse, we think through the hierarchies that are often attached to certain types of pleasure. Dario quotes from an academic article by Rutsky and Wyatt - <a href="https://www.jstor.org/stable/1224847" rel="nofollow" target="_blank">Serious Pleasures: Cinematic Pleasure and the notion of Fun</a> - which makes pleasure distinct from notions such as joy, fun, distraction and escapism. A key question question arises through the discussion: is a 'pure' form of pleasure beyond a context of either aesthetic intention or ideological meaning, even possible, when "enjoying" a film? As this is the last episode of the season, we also share some summer recommendations for you to dive into with different registers of filmic pleasure in mind. Neil's Fun Times The Big Lebowski  Pacific Rim Day of the Outlaw Odds Against Tomorrow Stop Making Sense Jarmusch Double Bill of Down By Law/ Ghost Dog: Way of the Samurai Le Samourai Branded to Kill Anything by Joe Dante (The Burbs, Matinee, Gremlins) Quiz Show Inherent Vice Dario's delights Butch Cassidy and the Sundance Kid Dirty Rotten Scoundrels The Hard Way A Few Good Men Training Day Nightcrawler Thelma and Louise True Lies Mission Impossible: Rogue Nation Paterson All is Forgiven Cold War --- You can listen to The Cinematologists for free, wherever you listen to podcasts: <a href="https://podfollow.com/the-cinematologists-podcast" rel="nofollow" target="_blank">click here to follow</a>. We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: <a href="https://www.patreon.com/cinematologists" rel="nofollow" target="_blank">https://www.patreon.com/cinematologists</a>. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and <a href="https://twitter.com/Cinematologists" rel="nofollow" target="_blank">sharing on Social Media</a> is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists’ Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass &amp; guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing

On Cinematic Pleasure

Laura Mulvey

In May 2023, Laura Mulvey and Rod Stoneman returned to Falmouth 45 years following a weekend of Independent Film and Sexual Politics to reconvene a dialogue about politics, experimental film, cinematic form and radicalism. The event, Falmouth Film Weekend [1978 Revisited], was hosted by Falmouth University’s Sound/Image Cinema Lab, and was delivered by Neil, in consort with staff and student colleagues. The weekend was a mix of screenings, seminars and talks, the latter by Laura and Rod. Filmmakers whose work was screened included Kenneth Anger, Yvonne Rainer, Stephen Dwoskin, Barbara Hammer and Laura Mulvey and Peter Wollen. The programme reached back to the original line-up as well as updating it with filmmakers from that period whose work has become so important to understanding of the era, such as Carolee Schneeman, and those who followed that radical moment, such as Isaac Julien. This episode collects Laura’s incredible talk, both reflective and critical, looking back and forward simultaneously, and shares it for Cinematologists listeners. Dario gets excited by the intellectual questions posed by the talk and he and Neil discuss form and content, ideology, the digital and its radical potentialities. It was an honour to listen to Laura Mulvey and Rod Stoneman, key figures in film theory and history, and it’s an honour to share their talks via the podcast. Rod’s can be found on our website via this link. The only reason it isn’t shared on the main feed is due to the desire to contain the episode to a single release. NB: The ‘Graeme’ Laura refers to is Graeme Ewens, a Falmouth based former member of the London Filmmaker’s Co-operative, who was in attendance for the weekend.  --- You can listen to The Cinematologists for free, wherever you listen to podcasts: click here to follow. We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: https://www.patreon.com/cinematologists. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and sharing on Social Media is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists’ Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass &amp; guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing 

In May 2023, Laura Mulvey and Rod Stoneman returned to Falmouth 45 years following a weekend of Independent Film and Sexual Politics to reconvene a dialogue about politics, experimental film, cinematic form and radicalism. The event, Falmouth Film Weekend [1978 Revisited], was hosted by Falmouth University’s Sound/Image Cinema Lab, and was delivered by Neil, in consort with staff and student colleagues. The weekend was a mix of screenings, seminars and talks, the latter by Laura and Rod. Filmmakers whose work was screened included Kenneth Anger, Yvonne Rainer, Stephen Dwoskin, Barbara Hammer and Laura Mulvey and Peter Wollen. The programme reached back to the original line-up as well as updating it with filmmakers from that period whose work has become so important to understanding of the era, such as Carolee Schneeman, and those who followed that radical moment, such as Isaac Julien. This episode collects Laura’s incredible talk, both reflective and critical, looking back and forward simultaneously, and shares it for Cinematologists listeners. Dario gets excited by the intellectual questions posed by the talk and he and Neil discuss form and content, ideology, the digital and its radical potentialities. It was an honour to listen to Laura Mulvey and Rod Stoneman, key figures in film theory and history, and it’s an honour to share their talks via the podcast. Rod’s can be found on our website via <a href="http://www.cinematologists.com/podcastarchive/2023/6/20/laura-mulvey-falmouth-film-weekend-1978-revisited" rel="nofollow" target="_blank">this link</a>. The only reason it isn’t shared on the main feed is due to the desire to contain the episode to a single release. NB: The ‘Graeme’ Laura refers to is Graeme Ewens, a Falmouth based former member of the London Filmmaker’s Co-operative, who was in attendance for the weekend. --- You can listen to The Cinematologists for free, wherever you listen to podcasts: <a href="https://podfollow.com/the-cinematologists-podcast" rel="nofollow" target="_blank">click here to follow</a>. We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: <a href="https://www.patreon.com/cinematologists" rel="nofollow" target="_blank">https://www.patreon.com/cinematologists</a>. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and <a href="https://twitter.com/Cinematologists" rel="nofollow" target="_blank">sharing on Social Media</a> is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists’ Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass &amp; guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing

Laura Mulvey (Falmouth Film Weekend: 1978 Revisited)

In association with Dead Good Film Club and Death Futures [DORS#6]) In this episode, Neil accepts an invitation from Newcastle's Dead Good Film Club and the Death Online Research Network (DORN) to host a Q&amp;A on the Japanese film Plan 75 (2022). The panel brought together religious and humanist celebrants, death educators and palliative care specialists as part of the 6th Death Online Research Symposium held at Northumbria University, tilted 'Death Futures'. The screening was hosted at the wonderful Tyneside Cinema in early June 2023. Elsewhere in the episode Neil and Dario get into the themes of the film and the cinematic application of them, as well as the vagaries of hosting Q&amp;As, and Neil catches up with the Dead Good Film Club's Andy Jones about his work. Thanks to Andrew at Tyneside Cinema, Andy at DGFC, Stacey at DORN and the panellists; Emma Satchell, Kate Owens-Palmer and Dr Mark Lee. --- You can listen to The Cinematologists for free, wherever you listen to podcasts: click here to follow. We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: https://www.patreon.com/cinematologists. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and sharing on Social Media is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists’ Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass &amp; guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing

In association with <a href="https://twitter.com/ajscreenstation" rel="nofollow" target="_blank">Dead Good Film Club</a> and <a href="https://www.northumbria.ac.uk/about-us/news-events/events/2023/05/death-futures/" rel="nofollow" target="_blank">Death Futures </a>[DORS#6]) In this episode, Neil accepts an invitation from Newcastle's Dead Good Film Club and the Death Online Research Network (DORN) to host a Q&amp;A on the Japanese film Plan 75 (2022). The panel brought together religious and humanist celebrants, death educators and palliative care specialists as part of the 6th Death Online Research Symposium held at Northumbria University, tilted 'Death Futures'. The screening was hosted at the wonderful <a href="https://tynesidecinema.co.uk/about-us/support-us/" rel="nofollow" target="_blank">Tyneside Cinema</a> in early June 2023. Elsewhere in the episode Neil and Dario get into the themes of the film and the cinematic application of them, as well as the vagaries of hosting Q&amp;As, and Neil catches up with the Dead Good Film Club's Andy Jones about his work. Thanks to Andrew at Tyneside Cinema, Andy at DGFC, Stacey at DORN and the panellists; Emma Satchell, Kate Owens-Palmer and Dr Mark Lee. --- You can listen to The Cinematologists for free, wherever you listen to podcasts: <a href="https://podfollow.com/the-cinematologists-podcast" rel="nofollow" target="_blank">click here to follow</a>. We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: <a href="https://www.patreon.com/cinematologists" rel="nofollow" target="_blank">https://www.patreon.com/cinematologists</a>. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and <a href="https://twitter.com/Cinematologists" rel="nofollow" target="_blank">sharing on Social Media</a> is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists’ Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass &amp; guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing

Plan 75

In this episode Neil and Dario discuss two fairly recent films that were both prize winners at Cannes 2022: Lukas Dhont's Close and Hlynur Pálmason's Godland. In terms of setting and story the films seem very different, however there is connecting tissue in the ways that the social fabric in each film defines the experience of the male characters, their sense of self, relation to others and the world. It's this context that provides a jumping off point for a wide ranging conversation that examines how films can deal with men in cinema without defaulting to "just another film" that superficially idealises maleness or didactically critiques the discourse of toxic masculinity. The impressive intersections of form and content in both films is explored with neither wandering down easy generic territory. Close follows the story of two close friends Leo and Remi who, after a blissful summer, start a new middle school and soon have to negotiate the playground hierarchies that seem to examine and define them. In Godland, Danish Priest Lukas is sent on a perilous journey to Iceland to set up a church in a remote community, taking with him all the paraphernalia of an early camera. Guided by "man of the Earth" Ragnar, the extreme conditions take a physical, psychological and spiritual toll which tests the priest's concept of faith. --- You can listen to The Cinematologists for free, wherever you listen to podcasts: click here to follow. We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: https://www.patreon.com/cinematologists. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and sharing on Social Media is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists’ Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass &amp; guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing Both films are available to stream and the conversation does contain spoilers.

In this episode Neil and Dario discuss two fairly recent films that were both prize winners at Cannes 2022: Lukas Dhont's Close and Hlynur Pálmason's Godland. In terms of setting and story the films seem very different, however there is connecting tissue in the ways that the social fabric in each film defines the experience of the male characters, their sense of self, relation to others and the world. It's this context that provides a jumping off point for a wide ranging conversation that examines how films can deal with men in cinema without defaulting to "just another film" that superficially idealises maleness or didactically critiques the discourse of toxic masculinity. The impressive intersections of form and content in both films is explored with neither wandering down easy generic territory. Close follows the story of two close friends Leo and Remi who, after a blissful summer, start a new middle school and soon have to negotiate the playground hierarchies that seem to examine and define them. In Godland, Danish Priest Lukas is sent on a perilous journey to Iceland to set up a church in a remote community, taking with him all the paraphernalia of an early camera. Guided by "man of the Earth" Ragnar, the extreme conditions take a physical, psychological and spiritual toll which tests the priest's concept of faith. --- You can listen to The Cinematologists for free, wherever you listen to podcasts: <a href="https://podfollow.com/the-cinematologists-podcast" rel="nofollow" target="_blank">click here to follow</a>. We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: <a href="https://www.patreon.com/cinematologists" rel="nofollow" target="_blank">https://www.patreon.com/cinematologists</a>. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and <a href="https://twitter.com/Cinematologists" rel="nofollow" target="_blank">sharing on Social Media</a> is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists’ Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass &amp; guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing Both films are available to stream and the conversation does contain spoilers.

Boys and Men in Close and Godland

In this special audio documentary episode of The Cinematologists Podcast, we draw upon the fascinating research in an AHRC funded project Demons of the Mind: Psychiatry and Cinema in the long 1960s. Exploring the complex interrelations between cinema and the psy-sciences during a unique period of material collaboration, we cover the dimensions of mutual influence between filmmakers and psychiatric professions in a number of contexts - the depiction of psychological themes in case history adaptations, relationships between doctors and patients, changing ideas around causes and treatments of conditions, the context of censorship, and the very social perception of mental illness. We also focuses on the rationale for collaborations between filmmakers and psy-professionals, their ideological and moral parameters, and the formal characteristics of films influenced by psychiatry in various ways.  The episode, written, narrated and edit by Dario and featuring contributions from research investigators Dr Tim Snelson of the University of East Anglia and Dr William R. Macauley of the University of Manchester, weaves together the core arguments and findings from the project with indicative clips from a range of films that were the focus of enquiry. After the main edit, Dario discusses with Neil the making of the podcast, thinking through both the technical elements of editing this type of podcast and the decision-making process when adapting such in-depth research to the audio form. Dr. Tim Snelson is an associate professor in media history at the University of East Anglia (UK). His research addressing the relationship between media and social history has been published in journals including Media History, History of Human Sciences, Cultural Studies and The Historical Journal of Film, Radio and Television. He has explored wartime cycles of psychological horror and crime films in a book titled Phantom Ladies: Hollywood Horror and the Home Front (Rutgers University Press, 2015). https://orcid.org/0000-0002-8282-2432 Dr. William R. Macauley is a lecturer at the University of Manchester and senior research associate at the Science Museum, London. He has an academic background and extensive research experience in psychology and the history of science, technology, and medicine. His work has been published in scholarly books and journals including History of the Human Sciences, Journal of British Cinema and Television, History of Technology, and the Journal of Sonic Studies. https://orcid.org/0000-0002-1748-9610 Book to accompany the research project: Tim Snelson , William R. Macauley  and David A. Kirby, Demons of the Mind: Psychiatry and Cinema in the Long 1960s (forthcoming Edinburgh University Press, 2024).   Bibliography Baudry, Jean-Louis, and Alan Williams. “Ideological Effects of the Basic Cinematographic Apparatus.” Film Quarterly, vol. 28, no. 2, 1974, pp. 39–47.  Laing, R.D. 1960. The Divided Self: An Existential Study in Sanity and Madness. (2010 edition) Penguin Modern Classics. Laing, R.D. 1970. Sanity, Madness and the Family: Families of Schizophrenics. Penguin Books Ltd Metz, Christian, and Alfred Guzzetti. “The Fiction Film and Its Spectator: A Metapsychological Study.” New Literary History, vol. 8, no. 1, 1976, pp. 75–105.  Mulvey, Laura. 1975. "Visual Pleasure and Narrative Cinema." Screen, vol. 16, no. 3, pp. 6-18   Filmography Secrets of a Soul (1926, G. W. Pabst)  Calling Dr Death (1943, Reginald Le Borg) Shock (1946, Alfred L. Werker) Dark Mirror (1946, Robert Siodmak) Possessed (1947, Curtis Bernhardt) The Snake Pit (1948, Anatole Litvak) The Three Faces of Eve (1957, Nunnally Johnson) Psycho (1960, Alfred Hitchcock) The Caretakers (1963, Hal Bartlett) The Collector (1965, William Wyler) Repulsion (1965, Roman Polanski) In Two Minds (TV, 1967, Ken Loach) One Flew Over the Cuckoo’s Nest (1975, Miloš Foreman) Silence of the Lambs (1991, Jonathan Demme) Good Will Hunting (1997, Gus Van Sant) Girl, Interrupted (1999, James Mangold) Joker (2019, Todd Philips)   Addition music via Artlist.io A.J. Nutter - Winds of Design Alon Peretz - While the Town Was Sleeping Norvik - Waterbed   You can listen to The Cinematologists for free, wherever you listen to podcasts: click here to follow. Or visit www.cinematologists.com We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: https://www.patreon.com/cinematologists. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and sharing on Social Media is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists’ Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass &amp; guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing

In this special audio documentary episode of The Cinematologists Podcast, we draw upon the fascinating research in an AHRC funded project Demons of the Mind: Psychiatry and Cinema in the long 1960s. Exploring the complex interrelations between cinema and the psy-sciences during a unique period of material collaboration, we cover the dimensions of mutual influence between filmmakers and psychiatric professions in a number of contexts - the depiction of psychological themes in case history adaptations, relationships between doctors and patients, changing ideas around causes and treatments of conditions, the context of censorship, and the very social perception of mental illness. We also focuses on the rationale for collaborations between filmmakers and psy-professionals, their ideological and moral parameters, and the formal characteristics of films influenced by psychiatry in various ways.  The episode, written, narrated and edit by Dario and featuring contributions from research investigators Dr Tim Snelson of the University of East Anglia and Dr William R. Macauley of the University of Manchester, weaves together the core arguments and findings from the project with indicative clips from a range of films that were the focus of enquiry. After the main edit, Dario discusses with Neil the making of the podcast, thinking through both the technical elements of editing this type of podcast and the decision-making process when adapting such in-depth research to the audio form. Dr. Tim Snelson is an associate professor in media history at the University of East Anglia (UK). His research addressing the relationship between media and social history has been published in journals including Media History, History of Human Sciences, Cultural Studies and The Historical Journal of Film, Radio and Television. He has explored wartime cycles of psychological horror and crime films in a book titled Phantom Ladies: Hollywood Horror and the Home Front (Rutgers University Press, 2015). <a href="https://orcid.org/0000-0002-8282-2432" rel="nofollow" target="_blank">https://orcid.org/0000-0002-8282-2432</a> Dr. William R. Macauley is a lecturer at the University of Manchester and senior research associate at the Science Museum, London. He has an academic background and extensive research experience in psychology and the history of science, technology, and medicine. His work has been published in scholarly books and journals including History of the Human Sciences, Journal of British Cinema and Television, History of Technology, and the Journal of Sonic Studies. <a href="https://orcid.org/0000-0002-1748-9610" rel="nofollow" target="_blank">https://orcid.org/0000-0002-1748-9610</a> Book to accompany the research project: Tim Snelson , William R. Macauley  and David A. Kirby, Demons of the Mind: Psychiatry and Cinema in the Long 1960s (forthcoming Edinburgh University Press, 2024). Bibliography Baudry, Jean-Louis, and Alan Williams. “Ideological Effects of the Basic Cinematographic Apparatus.” Film Quarterly, vol. 28, no. 2, 1974, pp. 39–47.  Laing, R.D. 1960. The Divided Self: An Existential Study in Sanity and Madness. (2010 edition) Penguin Modern Classics. Laing, R.D. 1970. Sanity, Madness and the Family: Families of Schizophrenics. Penguin Books Ltd Metz, Christian, and Alfred Guzzetti. “The Fiction Film and Its Spectator: A Metapsychological Study.” New Literary History, vol. 8, no. 1, 1976, pp. 75–105.  Mulvey, Laura. 1975. "Visual Pleasure and Narrative Cinema." Screen, vol. 16, no. 3, pp. 6-18 Filmography Secrets of a Soul (1926, G. W. Pabst)  Calling Dr Death (1943, Reginald Le Borg) Shock (1946, Alfred L. Werker) Dark Mirror (1946, Robert Siodmak) Possessed (1947, Curtis Bernhardt) The Snake Pit (1948, Anatole Litvak) The Three Faces of Eve (1957, Nunnally Johnson) Psycho (1960, Alfred Hitchcock) The Caretakers (1963, Hal Bartlett) The Collector (1965, William Wyler) Repulsion (1965, Roman Polanski) In Two Minds (TV, 1967, Ken Loach) One Flew Over the Cuckoo’s Nest (1975, Miloš Foreman) Silence of the Lambs (1991, Jonathan Demme) Good Will Hunting (1997, Gus Van Sant) Girl, Interrupted (1999, James Mangold) Joker (2019, Todd Philips) Addition music via <a href="http://Artlist.io" rel="nofollow" target="_blank">Artlist.io</a> A.J. Nutter - Winds of Design Alon Peretz - While the Town Was Sleeping Norvik - Waterbed You can listen to The Cinematologists for free, wherever you listen to podcasts: <a href="https://podfollow.com/the-cinematologists-podcast" rel="nofollow" target="_blank">click here to follow</a>. Or visit <a href="http://www.cinematologists.com" rel="nofollow" target="_blank">www.cinematologists.com</a> We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: <a href="https://www.patreon.com/cinematologists" rel="nofollow" target="_blank">https://www.patreon.com/cinematologists</a>. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and <a href="https://twitter.com/Cinematologists" rel="nofollow" target="_blank">sharing on Social Media</a> is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists’ Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass &amp; guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing

Demons of the Mind: Cinema and Psychiatry in the Long 1960s

Neil and Dario dedicate an episode to discussing the work of the brilliant French filmmaker Alice Diop, using the release of her debut fiction feature Saint Omer as a jumping off point into her incredible body of work. Their conversation takes in some of her documentary work, On Call (2016), Towards Tenderness (2016) and We (2021), all of which, along with Saint Omer, are available to stream on MUBI in the UK currently. The conversation covers a variety of topics but all respond to Diop's themes, preoccupations and formal dexterity, with Neil and Dario struggling to find the language for a filmmaker whose work is so concerned with the possibilities, limitations and power of both cinematic and spoken language. You can listen to The Cinematologists for free, wherever you listen to podcasts: click here to follow. We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: https://www.patreon.com/cinematologists. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and sharing on Social Media is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists’ Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass &amp; guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing

Neil and Dario dedicate an episode to discussing the work of the brilliant French filmmaker Alice Diop, using the release of her debut fiction feature Saint Omer as a jumping off point into her incredible body of work. Their conversation takes in some of her documentary work, On Call (2016), Towards Tenderness (2016) and We (2021), all of which, along with Saint Omer, are available to stream on MUBI in the UK currently. The conversation covers a variety of topics but all respond to Diop's themes, preoccupations and formal dexterity, with Neil and Dario struggling to find the language for a filmmaker whose work is so concerned with the possibilities, limitations and power of both cinematic and spoken language. You can listen to The Cinematologists for free, wherever you listen to podcasts: <a href="https://podfollow.com/the-cinematologists-podcast" rel="nofollow" target="_blank">click here to follow</a>. We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: <a href="https://www.patreon.com/cinematologists" rel="nofollow" target="_blank">https://www.patreon.com/cinematologists</a>. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and <a href="https://twitter.com/Cinematologists" rel="nofollow" target="_blank">sharing on Social Media</a> is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists’ Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass &amp; guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing

The Films of Alice Diop

Simon Harvey

Brett (writer/director/editor) and Simon (producer) Harvey, are stalwarts of contemporary Cornish cinema and 2022 saw the release of their third feature film Long Way Back, which has just hit streaming platforms.  Supported by Falmouth University's Sound/Image Cinema Lab, which has also supported the work of Mark Jenkin and for which Neil is the research and strategy lead, Long Way Back marks a departure in style and ambition for the filmmaking brothers and their company o-region. Neil talks to them about their process and influences, the role of music in both those aspects, the Cornish film community and the challenges of the UK indie film landscape. From there, Neil and Dario discuss regional UK filmmaking, the role of film festivals, independent ambition and london-centricism as both a concept and reality.  Elsewhere, Neil recommends new Chilean cinema release The Cow Who Sang A Song Into The Future, directed by Francisca Alegria and featuring a favourite actor of the hosts, Pablo Larrain regular Alfredo Castro, which prompts a chat about eco-sophical cinema. You can listen to The Cinematologists for free, wherever you listen to podcasts: click here to follow. We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: https://www.patreon.com/cinematologists. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and sharing on Social Media is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists’ Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass &amp; guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing

Brett (writer/director/editor) and Simon (producer) Harvey, are stalwarts of contemporary Cornish cinema and 2022 saw the release of their third feature film Long Way Back, which has just hit <a href="https://o-region.co.uk/film/" rel="nofollow" target="_blank">streaming platforms</a>.  Supported by Falmouth University's Sound/Image Cinema Lab, which has also supported the work of Mark Jenkin and for which Neil is the research and strategy lead, Long Way Back marks a departure in style and ambition for the filmmaking brothers and their company o-region. Neil talks to them about their process and influences, the role of music in both those aspects, the Cornish film community and the challenges of the UK indie film landscape. From there, Neil and Dario discuss regional UK filmmaking, the role of film festivals, independent ambition and london-centricism as both a concept and reality.  Elsewhere, Neil recommends new Chilean cinema release T<a href="https://fetch.fm/sovereign/sovereign-the-cow-who-sang-a-song-into-the-future/" rel="nofollow" target="_blank">he Cow Who Sang A Song Into The Future</a>, directed by Francisca Alegria and featuring a favourite actor of the hosts, Pablo Larrain regular Alfredo Castro, which prompts a chat about eco-sophical cinema. You can listen to The Cinematologists for free, wherever you listen to podcasts: <a href="https://podfollow.com/the-cinematologists-podcast" rel="nofollow" target="_blank">click here to follow</a>. We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: <a href="https://www.patreon.com/cinematologists" rel="nofollow" target="_blank">https://www.patreon.com/cinematologists</a>. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and <a href="https://twitter.com/Cinematologists" rel="nofollow" target="_blank">sharing on Social Media</a> is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists’ Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass &amp; guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing

Long Way Back(w/Brett and Simon Harvey)

Lillian Crawford

This is a very special episode where we were invited, by friend of the podcast So Mayer to discuss a new film screening series and project. In 2022 and 2023, a series of trans-focused film events took place across the UK as part of Inclusive Cinema’s T.L.C (aka Tender Loving Care for Trans-Led/Trans-Loved Cinema) project.  Integrated into indie cinema and festival programmes, films were screened with Q&amp;As and panels on diverse topics related to trans visibility in cinema, thanks to support from the BFI Film Audience Network (BFI FAN) awarding National Lottery funding. These events were recorded live and have been made into a podcast series. Alongside these podcasts, there is a guide to Good Practice Examples for Tricky Questions also on the project's website, linked to above. These questions and answers were created alongside, and refer to, the three T.L.C. podcasts and discussions around screenings. For this special episode of the podcast, Dario (he/him) spoke to So (they/them), along with Film Critic and podcaster Lillian Crawford (she/her), who introduced the first film of the series - screened at the Lexi Cinema - the extraordinary Japanese film Funeral Parade of Roses, in July 2022.  You can listen to The Cinematologists for free, wherever you listen to podcasts: click here to follow. We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: https://www.patreon.com/cinematologists. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and sharing on Social Media is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists’ Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass &amp; guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing

This is a very special episode where we were invited, by friend of the podcast So Mayer to discuss a new film screening series and project. In 2022 and 2023, a series of trans-focused film events took place across the UK as part of Inclusive Cinema’s T.L.C (aka Tender Loving Care for Trans-Led/Trans-Loved Cinema) project.  Integrated into indie cinema and festival programmes, films were screened with Q&amp;As and panels on diverse topics related to trans visibility in cinema, thanks to support from the BFI Film Audience Network (BFI FAN) awarding National Lottery funding. These events were recorded live and have been made into a <a href="https://includeme.podbean.com/" rel="nofollow" target="_blank">podcast series.</a> Alongside these podcasts, there is a guide to Good Practice Examples for Tricky Questions also on the project's website, linked to above. These questions and answers were created alongside, and refer to, the three T.L.C. podcasts and discussions around screenings. For this special episode of the podcast, Dario (he/him) spoke to So (they/them), along with Film Critic and podcaster Lillian Crawford (she/her), who introduced the first film of the series - screened at the Lexi Cinema - the extraordinary Japanese film Funeral Parade of Roses, in July 2022.  You can listen to The Cinematologists for free, wherever you listen to podcasts: <a href="https://podfollow.com/the-cinematologists-podcast" rel="nofollow" target="_blank">click here to follow</a>. We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: <a href="https://www.patreon.com/cinematologists" rel="nofollow" target="_blank">https://www.patreon.com/cinematologists</a>. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and <a href="https://twitter.com/Cinematologists" rel="nofollow" target="_blank">sharing on Social Media</a> is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists’ Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass &amp; guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing

T.L.C (Tender Loving Care for Trans-Led/Trans-Loved Cinema) w/ So Mayer and Lillian Crawford

Just a quick trailer for our Berlinale Dispatches minisodes which you can listen to Dario's daily missives from the festival, over at our Patreon feed: https://www.patreon.com/cinematologists.

Just a quick trailer for our Berlinale Dispatches minisodes which you can listen to Dario's daily missives from the festival, over at our Patreon feed: <a href="https://www.patreon.com/cinematologists" rel="nofollow" target="_blank">https://www.patreon.com/cinematologists</a>.

Berlinale Dispatches Trailer

Devorah Baum

In this episode, Neil talks with husband and wife filmmaking team Josh Appignanesi and Devorah Baum about their new work Husband, a follow-up to 2016's meta-documentary-autofiction-comedy The New Man. Josh and Devorah are co-directors and appear in the film as versions of themselves navigating marriage, parenthood, work and a New York tour for Devorah's latest book. The conversation covers their unique approach to marriage and moviemaking, comedy, collaboration and feelings. It's a fascinating discussion about a polarising piece of cinema. Polarising, because as the discussion around the interview highlights, Neil and Dario had very different responses to the film and in an in-depth chat, grapple with those responses and what it says about them as viewers and people. Husband is In UK cinemas now and on Curzon Home Cinema from 10 February" https://homecinema.curzon.com/film/husband/ ----- You can listen to The Cinematologists for free, wherever you listen to podcasts: click here to follow. We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: https://www.patreon.com/cinematologists. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and sharing on Social Media is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists’ Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass &amp; guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing

In this episode, Neil talks with husband and wife filmmaking team Josh Appignanesi and Devorah Baum about their new work Husband, a follow-up to 2016's meta-documentary-autofiction-comedy The New Man. Josh and Devorah are co-directors and appear in the film as versions of themselves navigating marriage, parenthood, work and a New York tour for Devorah's latest book. The conversation covers their unique approach to marriage and moviemaking, comedy, collaboration and feelings. It's a fascinating discussion about a polarising piece of cinema. Polarising, because as the discussion around the interview highlights, Neil and Dario had very different responses to the film and in an in-depth chat, grapple with those responses and what it says about them as viewers and people. Husband is In UK cinemas now and on <a href="https://eur02.safelinks.protection.outlook.com/?url=https%3A%2F%2Fhomecinema.curzon.com%2Ffilm%2Fhusband%2F&amp;data=05%7C01%7Cneil.fox%40falmouth.ac.uk%7Ca68a0ee740b4435b2cba08db09c39ca8%7C550beeb36a3d4646a111f89d0177792e%7C0%7C0%7C638114508080716952%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C3000%7C%7C%7C&amp;sdata=vwjeX9jh3yQ14gnDq9T13in0h7T%2BBxvSnkh0y6%2BSL7g%3D&amp;reserved=0" rel="nofollow" target="_blank">Curzon Home Cinema</a> from 10 February" <a href="https://eur02.safelinks.protection.outlook.com/?url=https%3A%2F%2Fhomecinema.curzon.com%2Ffilm%2Fhusband%2F&amp;data=05%7C01%7Cneil.fox%40falmouth.ac.uk%7Ca68a0ee740b4435b2cba08db09c39ca8%7C550beeb36a3d4646a111f89d0177792e%7C0%7C0%7C638114508080716952%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C3000%7C%7C%7C&amp;sdata=vwjeX9jh3yQ14gnDq9T13in0h7T%2BBxvSnkh0y6%2BSL7g%3D&amp;reserved=0" rel="nofollow" target="_blank">https://homecinema.curzon.com/film/husband/</a> ----- You can listen to The Cinematologists for free, wherever you listen to podcasts: <a href="https://podfollow.com/the-cinematologists-podcast" rel="nofollow" target="_blank">click here to follow</a>. We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: <a href="https://www.patreon.com/cinematologists" rel="nofollow" target="_blank">https://www.patreon.com/cinematologists</a>. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and <a href="https://twitter.com/Cinematologists" rel="nofollow" target="_blank">sharing on Social Media</a> is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists’ Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass &amp; guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing

Husband (w/Josh Appignanesi and Devorah Baum)

Film academics Dr Dario Llinares and Dr Neil Fox introduce a live screening followed by an audience Q&amp;A. The podcast also features interviews with filmmakers, scholars, writers and actors who debate all aspects of cinema and film culture.

Akira Kurosawa

Asif Kapadia

Hayden Smith

For this episode, Neil and Dario dive back into the work of master Japanese filmmaker Akira Kurosawa having last talked about his cinema in the earliest days of the podcast when they screened Yojimbo for an audience in Falmouth. The occasion for this revisit is a new, extensive retrospective of his work hosted at the BFI Southbank (and some regional partner cinemas) and on their BFI Player platform. The season is curated by filmmaker Asif Kapadia and writer Ian Hayden Smith, who Dario talked to as the two-month long season got underway. Their discussion covers the curation approach, the influence of Kurosawa on them and the wider film community more broadly, and why he remains a key figure of focus in global film history. Elsewhere, Neil and Dario look at some of Kurosawa's post-War films set in contemporary Japan, with a deeper focus on I Live In Fear (1955) and High and Low (1963).  With thanks to Sarah Bemand at the BFI for the invitation to cover this season, setting up the interview with Asif and Ian and providing access to the BFI Player to view titles. For more on the ongoing season visit the BFI website here.  ----- You can listen to The Cinematologists for free, wherever you listen to podcasts: click here to follow. We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: https://www.patreon.com/cinematologists. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and sharing on Social Media is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists’ Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass &amp; guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing

For this episode, Neil and Dario dive back into the work of master Japanese filmmaker Akira Kurosawa having last talked about his cinema in the earliest days of the podcast when they screened Yojimbo for an audience in Falmouth. The occasion for this revisit is a new, extensive retrospective of his work hosted at the BFI Southbank (and some regional partner cinemas) and on their BFI Player platform. The season is curated by filmmaker Asif Kapadia and writer Ian Hayden Smith, who Dario talked to as the two-month long season got underway. Their discussion covers the curation approach, the influence of Kurosawa on them and the wider film community more broadly, and why he remains a key figure of focus in global film history. Elsewhere, Neil and Dario look at some of Kurosawa's post-War films set in contemporary Japan, with a deeper focus on I Live In Fear (1955) and High and Low (1963).  With thanks to Sarah Bemand at the BFI for the invitation to cover this season, setting up the interview with Asif and Ian and providing access to the BFI Player to view titles. For more on the ongoing season visit the BFI website <a href="https://whatson.bfi.org.uk/Online/default.asp?BOparam::WScontent::loadArticle::permalink=akirakurosawa&amp;BOparam::WScontent::loadArticle::context_id=" rel="nofollow" target="_blank">here</a>.  ----- You can listen to The Cinematologists for free, wherever you listen to podcasts: <a href="https://podfollow.com/the-cinematologists-podcast" rel="nofollow" target="_blank">click here to follow</a>. We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: <a href="https://www.patreon.com/cinematologists" rel="nofollow" target="_blank">https://www.patreon.com/cinematologists</a>. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and <a href="https://twitter.com/Cinematologists" rel="nofollow" target="_blank">sharing on Social Media</a> is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists’ Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass &amp; guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing

Akira Kurosawa at the BFI (w/ Asif Kapadia and Ian Hayden Smith)

Mark Jenkin

For our first episode of 2023, Dario speaks to a great friend of the podcast Mark Jenkin about his new Cornish "folk horror", Enys Men. Starring Mary Woodvine as a volunteer isolated on a Cornish island seemingly with the task of observing and recording the local wildlife. This sets the stage for a disquieting, time-bending, psycho-ecological fable, forged through Jenkin's singular audio-visual sensibility.  In a wide-ranging conversation, Mark goes deep into the artistic process underpinning the film, thinks through questions the work throws up about loneliness, isolation, time and memory. The notion of genre is another topic of discussion, with the renaissance in cinematic folk horror. But Dario forward his thesis that Enys Men is a "last woman on Earth" sci-fi.       It's also great have Neil returning to the show after his hiatus. He reviews another potential entry to the international folk horror canon Yanuari (January). From Bulgarian director Andrey Paounov and co-written by former Cinematologists guest Alex Barrett. Shownotes ENYS MEN is in cinemas now.  The Cinematic DNA of ENYS MEN season [curated by director Mark Jenkin] runs at BFI Southbank until 31 January with selected films and Jenkin’s shorts collection available on BFI Player now. ENYS MEN will be released on Blu-ray/DVD and BFI Player on 1 May. The ENYS MEN Original Score by Mark Jenkin is out now digitally via Invada Records and released on vinyl on 24 February. Documentary mention by Mark and Neil on Folk Horror is Woodlands Dark, Days Bewitched You can listen to The Cinematologists for free, wherever you listen to podcasts: click here to follow. We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: https://www.patreon.com/cinematologists. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and sharing on Social Media is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists’ Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass &amp; guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing

For our first episode of 2023, Dario speaks to a great friend of the podcast Mark Jenkin about his new Cornish "folk horror", Enys Men. Starring Mary Woodvine as a volunteer isolated on a Cornish island seemingly with the task of observing and recording the local wildlife. This sets the stage for a disquieting, time-bending, psycho-ecological fable, forged through Jenkin's singular audio-visual sensibility.  In a wide-ranging conversation, Mark goes deep into the artistic process underpinning the film, thinks through questions the work throws up about loneliness, isolation, time and memory. The notion of genre is another topic of discussion, with the renaissance in cinematic folk horror. But Dario forward his thesis that Enys Men is a "last woman on Earth" sci-fi.       It's also great have Neil returning to the show after his hiatus. He reviews another potential entry to the international folk horror canon <a href="https://www.youtube.com/watch?v=2JS6pLjlnfc" rel="nofollow" target="_blank">Yanuari (January)</a>. From Bulgarian director Andrey Paounov and co-written by former Cinematologists guest Alex Barrett. Shownotes ENYS MEN is in <a href="https://www.enysmen.co.uk/" rel="nofollow" target="_blank">cinemas</a> now.  <a href="https://whatson.bfi.org.uk/online/article/markjenkin" rel="nofollow" target="_blank">The Cinematic DNA of ENYS MEN</a> season [curated by director Mark Jenkin] runs at BFI Southbank until 31 January with selected films and Jenkin’s shorts collection available on <a href="https://player.bfi.org.uk/" rel="nofollow" target="_blank">BFI Player</a> now. ENYS MEN will be released on Blu-ray/DVD and BFI Player on 1 May. The ENYS MEN Original Score by Mark Jenkin is out now digitally via Invada Records and released on vinyl on 24 February. Documentary mention by Mark and Neil on Folk Horror is <a href="https://woodlandsdarkanddaysbewitched.com/" rel="nofollow" target="_blank">Woodlands Dark, Days Bewitched</a> You can listen to The Cinematologists for free, wherever you listen to podcasts: <a href="https://podfollow.com/the-cinematologists-podcast" rel="nofollow" target="_blank">click here to follow</a>. We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: <a href="https://www.patreon.com/cinematologists" rel="nofollow" target="_blank">https://www.patreon.com/cinematologists</a>. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and <a href="https://twitter.com/Cinematologists" rel="nofollow" target="_blank">sharing on Social Media</a> is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists’ Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass &amp; guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing

Enys Men (w/ Dir. Mark Jenkin)

Clarisse Loughrey

We come to the end of another cinematic year, and for our look back over 2022 Dario is joined by The Independent's film critic  Clarisse Loughrey. As usual, the episode is contextualised with a meander through some of the big themes and news stories of the year in film. This is followed  by a countdown of both Dario and Clarisse's top five films of the year.  Both Dario and Neil want to thank our audience for their continued support throughout the year, we hope you have enjoyed the season and continue to be a listener into 2023. Dario will be publishing the January newsletter at the end of the week which will double up as something of a New Year reflection.  All the best to you all for 2023 - Dario and Neil. Shownotes Clarisse Loughrey on Twitter.  Clarisse's full films of the year list, published in The Independent. You can listen to The Cinematologists for free, wherever you listen to podcasts: click here to follow. We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: https://www.patreon.com/cinematologists. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and sharing on Social Media is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists’ Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass &amp; guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing

We come to the end of another cinematic year, and for our look back over 2022 Dario is joined by The Independent's film critic  Clarisse Loughrey. As usual, the episode is contextualised with a meander through some of the big themes and news stories of the year in film. This is followed  by a countdown of both Dario and Clarisse's top five films of the year.  Both Dario and Neil want to thank our audience for their continued support throughout the year, we hope you have enjoyed the season and continue to be a listener into 2023. Dario will be publishing the January newsletter at the end of the week which will double up as something of a New Year reflection.  All the best to you all for 2023 - Dario and Neil. Shownotes Clarisse Loughrey on <a href="https://twitter.com/clarisselou" rel="nofollow" target="_blank">Twitter</a>.  Clarisse's <a href="https://www.independent.co.uk/arts-entertainment/films/features/best-films-2022-movies-ranked-b2237591.html" rel="nofollow" target="_blank">full films of the year list</a>, published in The Independent. You can listen to The Cinematologists for free, wherever you listen to podcasts: <a href="https://podfollow.com/the-cinematologists-podcast" rel="nofollow" target="_blank">click here to follow</a>. We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: <a href="https://www.patreon.com/cinematologists" rel="nofollow" target="_blank">https://www.patreon.com/cinematologists</a>. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and <a href="https://twitter.com/Cinematologists" rel="nofollow" target="_blank">sharing on Social Media</a> is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists’ Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass &amp; guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing

2022 Review (w/critic Clarisse Loughrey)

James Dean

So this is the penultimate episode of 2022. We were at the Garden Cinema on Tuesday 20th to watch The Coen Brothers Blood Simple. My co-host for the evening was the Producer and now regular contributor to the James Dean. James was absolutely superb, both an astute appreciator of the Coen Brothers as artists, but fascinatingly relaying some nuggets of personal experience from having actually met and watched the Coen's at work. Listening to James and watching the film, which was an absolutely incredible DCP restoration by Criterion with 5.1 sound, I just was reminded about the pure joy of watching a film. It’s almost heresy to say, but the film seems to offer itself up for the pure joy of watching, without and underlying sense of message. It’s cine-literate, but unpretentiously so, and it’s refreshingly Apolitical. Of course, the argument arises that there is no such thing a culture product that is Apolitical. Everything is defined by an underlying ideology. As a well-trained cultural studies scholar, the notion of being always already within ideology is something that has been drilled into me. Indeed, one could suggest that the Coens, whether they would explicitly acknowledge or speak to the wider allusions of their work, have been knowing chroniclers of the Absurdist contradictions at the heart of the American dream. Yet, this is never imposed didactically. On the contrary there is arguably a respect for audiences literacy of, and practice in, to borrow from Stuart Hall, decoding and negotiating the signifiers of film. That might sound overwrought, in the way I’ve put it. What I mean is, they revel in the possibilities of cinema as form. Unlike many other filmmakers for who use references as pastiche or as an exercise in nerding out. The Coens invite you to the self-contained pleasure of the film they are presenting you with, without the necessity of connecting a reference external to the text. Even with the noir invocations, exploitation riffs, tours of pulp violence, one never feels excluding from enjoying the fundamental filmic pleasures. Watching and listening, to this pristinely recreated digital artifact, in such a perfect auditorium, and with the knowledge of a shared audience intent, my will to analyse interpret gradually just succumbed to a purity of pleasure. Looking back, if there has been a theme to this season of the podcast, it has been a kind of tension. Between how we define and categorise films; the push to define the status of cinema in a fractured and uncertain media landscape. And the ephemeral, fleeting joy of those minute of empathy and immersion. Where the mechanistic shaping of light and sound creates a canvas of illusion which offers the chance to connect the external universe with your internal dreamscape. With just the end of year review to come, I want to thank all the contributors to this season. Guest hosts James Dean, Caroline Catz, Mary Wild, Sarah Cleaver, David Lowbridge-Ellis, Catherine Wheatley, Savina Petcova, Chris Cassingham, Clarisse Lockree, the podcast really has functioned thanks to your generosity of time and insight. Also, thanks to all the other guests we have had on the show this season. Thanks to George and all the staff at the Garden for Hosting the live episodes. You should all join their membership scheme immediately. It’s a magical and still largely undiscovered venue in the heart of London. And thanks to Neil of course, who has been on a break apart from the Sight and Sound episode.  His support and encouragement behind the scenes has been invaluable. It’s been a challenge to do this without him and I’m looking forward to getting back to the main purpose of the show, which is our movie conversation (DL). --- You can listen to The Cinematologists for free, wherever you listen to podcasts: click here to follow. We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: https://www.patreon.com/cinematologists. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and sharing on Social Media is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists’ Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass &amp; guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing

So this is the penultimate episode of 2022. We were at the Garden Cinema on Tuesday 20th to watch The Coen Brothers Blood Simple. My co-host for the evening was the Producer and now regular contributor to the <a href="https://twitter.com/OtherJamesDean" rel="nofollow" target="_blank">James Dean</a>. James was absolutely superb, both an astute appreciator of the Coen Brothers as artists, but fascinatingly relaying some nuggets of personal experience from having actually met and watched the Coen's at work. Listening to James and watching the film, which was an absolutely incredible DCP restoration by Criterion with 5.1 sound, I just was reminded about the pure joy of watching a film. It’s almost heresy to say, but the film seems to offer itself up for the pure joy of watching, without and underlying sense of message. It’s cine-literate, but unpretentiously so, and it’s refreshingly Apolitical. Of course, the argument arises that there is no such thing a culture product that is Apolitical. Everything is defined by an underlying ideology. As a well-trained cultural studies scholar, the notion of being always already within ideology is something that has been drilled into me. Indeed, one could suggest that the Coens, whether they would explicitly acknowledge or speak to the wider allusions of their work, have been knowing chroniclers of the Absurdist contradictions at the heart of the American dream. Yet, this is never imposed didactically. On the contrary there is arguably a respect for audiences literacy of, and practice in, to borrow from Stuart Hall, decoding and negotiating the signifiers of film. That might sound overwrought, in the way I’ve put it. What I mean is, they revel in the possibilities of cinema as form. Unlike many other filmmakers for who use references as pastiche or as an exercise in nerding out. The Coens invite you to the self-contained pleasure of the film they are presenting you with, without the necessity of connecting a reference external to the text. Even with the noir invocations, exploitation riffs, tours of pulp violence, one never feels excluding from enjoying the fundamental filmic pleasures. Watching and listening, to this pristinely recreated digital artifact, in such a perfect auditorium, and with the knowledge of a shared audience intent, my will to analyse interpret gradually just succumbed to a purity of pleasure. Looking back, if there has been a theme to this season of the podcast, it has been a kind of tension. Between how we define and categorise films; the push to define the status of cinema in a fractured and uncertain media landscape. And the ephemeral, fleeting joy of those minute of empathy and immersion. Where the mechanistic shaping of light and sound creates a canvas of illusion which offers the chance to connect the external universe with your internal dreamscape. With just the end of year review to come, I want to thank all the contributors to this season. Guest hosts James Dean, Caroline Catz, Mary Wild, Sarah Cleaver, David Lowbridge-Ellis, Catherine Wheatley, Savina Petcova, Chris Cassingham, Clarisse Lockree, the podcast really has functioned thanks to your generosity of time and insight. Also, thanks to all the other guests we have had on the show this season. Thanks to George and all the staff at the Garden for Hosting the live episodes. You should all join their <a href="https://www.thegardencinema.co.uk/membership/" rel="nofollow" target="_blank">membership scheme</a> immediately. It’s a magical and still largely undiscovered venue in the heart of London. And thanks to Neil of course, who has been on a break apart from the Sight and Sound episode.  His support and encouragement behind the scenes has been invaluable. It’s been a challenge to do this without him and I’m looking forward to getting back to the main purpose of the show, which is our movie conversation (DL). --- You can listen to The Cinematologists for free, wherever you listen to podcasts: <a href="https://podfollow.com/the-cinematologists-podcast" rel="nofollow" target="_blank">click here to follow</a>. We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: <a href="https://www.patreon.com/cinematologists" rel="nofollow" target="_blank">https://www.patreon.com/cinematologists</a>. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and <a href="https://twitter.com/Cinematologists" rel="nofollow" target="_blank">sharing on Social Media</a> is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists’ Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass &amp; guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing

Blood Simple (w/ Producer James Dean)

In this episode, Dario talks MA student in Film Curation Chris Cassingham about his graduation film series: Beyond Interpretation. Screening at the ICA in London in January, the series that explores the connections between paranoia, conspiracy, anxiety, and the precarious realities of artistic creation at the margins of the American film industry. At a time when it is increasingly difficult to make and distribute films that defy simple categorisation, resist commercial expectations of narrative and form, and whose concerns are often out of step with capitalist ideals of profit, it is important to seize every available opportunity to present them to new audiences. Dario discusses with Chris his course at NFTS and the film curation itself as discipline, reflecting on the challenging times for exhibitors and the film industry as a whole in getting audiences to come to theatres. Dario contextualises this in his opening remarks, thinking about cinema-going as a recurring theme of the podcast, even before the pandemic. The impact of streaming has obviously had a major influence on film audiences, along with shifting criteria in what types of films mainstream audiences deem worthy to see at the cinema. --- You can listen to The Cinematologists for free, wherever you listen to podcasts: click here to follow. We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: https://www.patreon.com/cinematologists. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and sharing on Social Media is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists’ Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass &amp; guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing

In this episode, Dario talks MA student in Film Curation <a href="https://twitter.com/CCassingham" rel="nofollow" target="_blank">Chris Cassingham</a> about his graduation film series: <a href="https://www.ica.art/films/beyond-interpretation#:~:text=ICA%20%7C%20Beyond%20Interpretation&amp;text=Beyond%20Interpretation%20is%20a%20new,of%20the%20American%20film%20industry." rel="nofollow" target="_blank">Beyond Interpretation</a>. Screening at the ICA in London in January, the series that explores the connections between paranoia, conspiracy, anxiety, and the precarious realities of artistic creation at the margins of the American film industry. At a time when it is increasingly difficult to make and distribute films that defy simple categorisation, resist commercial expectations of narrative and form, and whose concerns are often out of step with capitalist ideals of profit, it is important to seize every available opportunity to present them to new audiences. Dario discusses with Chris his course at NFTS and the film curation itself as discipline, reflecting on the challenging times for exhibitors and the film industry as a whole in getting audiences to come to theatres. Dario contextualises this in his opening remarks, thinking about cinema-going as a recurring theme of the podcast, even before the pandemic. The impact of streaming has obviously had a major influence on film audiences, along with shifting criteria in what types of films mainstream audiences deem worthy to see at the cinema. --- You can listen to The Cinematologists for free, wherever you listen to podcasts: <a href="https://podfollow.com/the-cinematologists-podcast" rel="nofollow" target="_blank">click here to follow</a>. We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: <a href="https://www.patreon.com/cinematologists" rel="nofollow" target="_blank">https://www.patreon.com/cinematologists</a>. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and <a href="https://twitter.com/Cinematologists" rel="nofollow" target="_blank">sharing on Social Media</a> is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists’ Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass &amp; guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing

Film Curation (Beyond Interpretation w/Chris Cassingham)

In part 2 of our Sight and Sound special, Dario talks to the managing editor of Sight and Sound Magazine Isabel Stevens about the collation and publication of this list. With over 1600 hundred critics contributing their top tens (up from 800 in 2012), the move towards greater diversity is clear. Dario drills down into that with Isabel, along with unpacking some of the other key trends that have emerged. Isabel also takes us through her selections.  Also on the show, we welcome back Savina Petkova for her take on being invited to contribute, the issues with lists in general, and compiling a set of 10 films that complement each other. She also addresses the inherent performativity of creating a "best-of" for public scrutiny; how one cannot help but consider the cultural reaction, even in the abstract. And of course we and take wonderful meander through her choices. It’s a great list that is based on a single theme: Love.  You can listen to The Cinematologists for free, wherever you listen to podcasts: click here to follow. We hope you have enjoyed this double episode, it is complemented by a bonus podcast that is available on our Patreon page: https://www.patreon.com/cinematologists. You can become a member for only £2. #SupportIndieMedia We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and sharing on Social Media is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists’ Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass &amp; guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing

In part 2 of our Sight and Sound special, Dario talks to the managing editor of Sight and Sound Magazine Isabel Stevens about the collation and publication of this list. With over 1600 hundred critics contributing their top tens (up from 800 in 2012), the move towards greater diversity is clear. Dario drills down into that with Isabel, along with unpacking some of the other key trends that have emerged. Isabel also takes us through her selections.  Also on the show, we welcome back Savina Petkova for her take on being invited to contribute, the issues with lists in general, and compiling a set of 10 films that complement each other. She also addresses the inherent performativity of creating a "best-of" for public scrutiny; how one cannot help but consider the cultural reaction, even in the abstract. And of course we and take wonderful meander through her choices. It’s a great list that is based on a single theme: Love.  You can listen to The Cinematologists for free, wherever you listen to podcasts: <a href="https://podfollow.com/the-cinematologists-podcast" rel="nofollow" target="_blank">click here to follow</a>. We hope you have enjoyed this double episode, it is complemented by a bonus podcast that is available on our Patreon page: <a href="https://www.patreon.com/cinematologists" rel="nofollow" target="_blank">https://www.patreon.com/cinematologists</a>. You can become a member for only £2. #SupportIndieMedia We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and <a href="https://twitter.com/Cinematologists" rel="nofollow" target="_blank">sharing on Social Media</a> is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists’ Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass &amp; guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing

Sight and Sound’s Greatest Films of All Time 2022 (Part 2)

So, after much hype, critique and discussion, the Sight and Sound Greatest films of all-time poll has been published and we have an extensive 2-part episode of The Cinematologists to cover it. Neil and Dario were both invited to contribute a top ten list to the poll, which was an unexpected honour in itself. Not only that, Sight and Sound kindly gave us access to the results early so we could record and release the episode to coincide with the publication of the list. Furthermore, Dario got to speak to Isabel Stevens, Managing Editor of Sight and Sound before the list came out (which comes in part 2). AND, for part 1 of this double feature, Neil is back. Yes, he interrupts his hiatus to lend his astute critical savvy to the results of the poll and to speak about both his own and Dario’s choices. In the past, we have critiqued the problems of list culture and its potential negative effects on film appreciation and criticism. But in a move, particularly on Dario’s part, to ameliorate any hypocrisy of rejecting lists while gleefully contributing to “the big one”, we also discuss the positive value of list making as an access point in a chaotic cultural milieu. Of course, we also talk about the expansion of the critics invited to participate in a move towards a greater diversity and the implications this has for the film canon. And, of course, we talk about some of the major headlines from this year's poll. First and foremost the new number 1 slot taken by Chantal Akerman’s Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles. We discuss the dynamics around this change, how it relates to other shifts (such as the higher recognition of other female filmmakers such as Claire Denis and Agnès Varda) and how they might be received: is it both a long overdue boost for female filmmaking and feminist criticism of under-representation in processes of institutionalisation &amp; canonisation. Or does this reflect a narrow kind of diversity, the promotion of a high-modernist cinema which is open to cries of elitism and inaccessibility? We get into these issues in typical Cinematologists depth along with analysing the other big moves and trends. Finally, we reveal our own lists and deconstruct the contrasting "methodologies" for choosing them. Please enjoy. Shownotes Link to the Sight and Sound List Online Quentin Tarantino’s video archives podcast Silver Screen Video Podcast - with David Thompson Film Comment podcast on movie list culture and documentary. Against Lists by Elena Gorfinkel --- You can listen to The Cinematologists for free, wherever you listen to podcasts: click here to follow. We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: https://www.patreon.com/cinematologists. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and sharing on Social Media is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists’ Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass &amp; guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing

So, after much hype, critique and discussion, the Sight and Sound Greatest films of all-time poll has been published and we have an extensive 2-part episode of The Cinematologists to cover it. Neil and Dario were both invited to contribute a top ten list to the poll, which was an unexpected honour in itself. Not only that, Sight and Sound kindly gave us access to the results early so we could record and release the episode to coincide with the publication of the list. Furthermore, Dario got to speak to Isabel Stevens, Managing Editor of Sight and Sound before the list came out (which comes in part 2). AND, for part 1 of this double feature, Neil is back. Yes, he interrupts his hiatus to lend his astute critical savvy to the results of the poll and to speak about both his own and Dario’s choices. In the past, we have critiqued the problems of list culture and its potential negative effects on film appreciation and criticism. But in a move, particularly on Dario’s part, to ameliorate any hypocrisy of rejecting lists while gleefully contributing to “the big one”, we also discuss the positive value of list making as an access point in a chaotic cultural milieu. Of course, we also talk about the expansion of the critics invited to participate in a move towards a greater diversity and the implications this has for the film canon. And, of course, we talk about some of the major headlines from this year's poll. First and foremost the new number 1 slot taken by Chantal Akerman’s Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles. We discuss the dynamics around this change, how it relates to other shifts (such as the higher recognition of other female filmmakers such as Claire Denis and Agnès Varda) and how they might be received: is it both a long overdue boost for female filmmaking and feminist criticism of under-representation in processes of institutionalisation &amp; canonisation. Or does this reflect a narrow kind of diversity, the promotion of a high-modernist cinema which is open to cries of elitism and inaccessibility? We get into these issues in typical Cinematologists depth along with analysing the other big moves and trends. Finally, we reveal our own lists and deconstruct the contrasting "methodologies" for choosing them. Please enjoy. Shownotes <a href="https://www.bfi.org.uk/sight-and-sound/greatest-films-all-time?utm_medium=email&amp;utm_campaign=20221201-news-editorial-sight-sound-occasional-updates-greatest-films-2022&amp;utm_content=20221201-news-editorial-sight-sound-occasional-updates-greatest-films-2022+CID_3ccb522b23dc297bcfc2e11cb39e62bd&amp;utm_source=cm&amp;utm_term=Reveal%20the%20results" rel="nofollow" target="_blank">Link to the Sight and Sound List Online</a> <a href="https://open.spotify.com/episode/7IAHev0tMdGC1UDuwXfrkc?si=1050994b105546f5" rel="nofollow" target="_blank">Quentin Tarantino’s video archives podcast</a> <a href="https://podcasts.apple.com/us/podcast/episode-153-david-thomson-returns/id1494250563?i=1000584782222" rel="nofollow" target="_blank">Silver Screen Video Podcast - with David Thompson</a> <a href="https://www.filmcomment.com/blog/the-film-comment-podcast-lists-and-and-the-documentary-canon/" rel="nofollow" target="_blank">Film Comment podcast on movie list culture and documentary.</a> <a href="https://www.anothergaze.com/elena-gorfinkel-manifesto-against-lists/" rel="nofollow" target="_blank">Against Lists by Elena Gorfinkel</a> --- You can listen to The Cinematologists for free, wherever you listen to podcasts: <a href="https://podfollow.com/the-cinematologists-podcast" rel="nofollow" target="_blank">click here to follow</a>. We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: <a href="https://www.patreon.com/cinematologists" rel="nofollow" target="_blank">https://www.patreon.com/cinematologists</a>. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and <a href="https://twitter.com/Cinematologists" rel="nofollow" target="_blank">sharing on Social Media</a> is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists’ Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass &amp; guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing

Sight and Sound’s Greatest Films of All Time 2022 (Part 1)

Catherine Wheatley

Olivier Assayas has always been a filmmaker and critic who is interested in the essential question: what is cinema? His reflections are often espoused though the characters in his films, with the repeated deployment of the "film within a film" device, and now, in the recreation of his 1996 low budget cult classic Irma Vep, into a 8-episode HBO miniseries. This week Dario was joined by Reader in Film Studies Dr Catherine Wheatley to discuss the original film. But with Catherine writing a positive, joyful, review of the TV "sequel" in Sight and Sound, aspects of comparison were always going to suffuse the conversation. We talk about Assayas as a postmodern, chameleonic filmmaker, and his place in the history of French cinema as both an insider and outsider. Then of course there is the ethereal vision that is Maggie Cheung. Paradoxically, in the film she plays the mystical, femme fatale role, made famous by Musidora in Louis Feuillade's fabled 1915 Les Vampires. Assayas clearly anchors the film on her mesmerising beauty, perhaps bordering on exoticisation. But she is also normalised in the role. Playing a meta-fictional version of herself, a star on the verge of international breakthrough but somewhat lost in the chaos of a Parisian film shoot that is falling apart. Comparisons with Alicia Vikander, cast in the recent TV sequel are also a centre-point to the conversation. --- You can listen to The Cinematologists for free, wherever you listen to podcasts: click here to follow. We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: https://www.patreon.com/cinematologists. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and sharing on Social Media is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists’ Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass &amp; guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing

Olivier Assayas has always been a filmmaker and critic who is interested in the essential question: what is cinema? His reflections are often espoused though the characters in his films, with the repeated deployment of the "film within a film" device, and now, in the recreation of his 1996 low budget cult classic Irma Vep, into a 8-episode HBO miniseries. This week Dario was joined by Reader in Film Studies Dr Catherine Wheatley to discuss the original film. But with Catherine writing a positive, joyful, review of the TV "sequel" in Sight and Sound, aspects of comparison were always going to suffuse the conversation. We talk about Assayas as a postmodern, chameleonic filmmaker, and his place in the history of French cinema as both an insider and outsider. Then of course there is the ethereal vision that is Maggie Cheung. Paradoxically, in the film she plays the mystical, femme fatale role, made famous by Musidora in Louis Feuillade's fabled 1915 Les Vampires. Assayas clearly anchors the film on her mesmerising beauty, perhaps bordering on exoticisation. But she is also normalised in the role. Playing a meta-fictional version of herself, a star on the verge of international breakthrough but somewhat lost in the chaos of a Parisian film shoot that is falling apart. Comparisons with Alicia Vikander, cast in the recent TV sequel are also a centre-point to the conversation. --- You can listen to The Cinematologists for free, wherever you listen to podcasts: <a href="https://podfollow.com/the-cinematologists-podcast" rel="nofollow" target="_blank">click here to follow</a>. We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: <a href="https://www.patreon.com/cinematologists" rel="nofollow" target="_blank">https://www.patreon.com/cinematologists</a>. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and <a href="https://twitter.com/Cinematologists" rel="nofollow" target="_blank">sharing on Social Media</a> is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists’ Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass &amp; guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing

Irma Vep (w/ Dr Catherine Wheatley)

Sarah Cleaver

In the week leading up to Halloween, The Cinematologists Podcast returns live to The Garden Cinema for a screening and recording of Prano Baily-Bond’s debut feature Censor. A pointed and knowing homage to the 80s era of the video nasties, the story draws on the theme of moral panic, with the excellent Niamh Elgar as an officious BBFC censor whose work starts to encroach a little too much into her own trauma. With perturbing visceral panache, the ritualistic nature of cinematic spectatorship and psychological effects of film living in the liminal space between reality and myth, underpin Censor’s disquieting effects. It’s a film that divided critics and audiences and provided plenty to chew on for host Dario Llinares who will be joined by Sarah Cleaver (Projections Podcast &amp; The Zodiac Film Club) for post screening discussion. *Apologies for the poor quality of the live recorded sound on this episode. There was a technical fault and there was no much we could do in post-production to rectify the problem. Recommend that you use headphones for this one. You can listen to The Cinematologists for free, wherever you listen to podcasts: click here to follow. We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: https://www.patreon.com/cinematologists. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and sharing on Social Media is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists’ Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass &amp; guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing

In the week leading up to Halloween, The Cinematologists Podcast returns live to The Garden Cinema for a screening and recording of Prano Baily-Bond’s debut feature Censor. A pointed and knowing homage to the 80s era of the video nasties, the story draws on the theme of moral panic, with the excellent Niamh Elgar as an officious BBFC censor whose work starts to encroach a little too much into her own trauma. With perturbing visceral panache, the ritualistic nature of cinematic spectatorship and psychological effects of film living in the liminal space between reality and myth, underpin Censor’s disquieting effects. It’s a film that divided critics and audiences and provided plenty to chew on for host Dario Llinares who will be joined by Sarah Cleaver (<a href="https://www.projectionspodcast.com/" rel="nofollow" target="_blank">Projections Podcast</a> &amp; <a href="https://www.sarahkathryncleaver.com/zodiac-film-club" rel="nofollow" target="_blank">The Zodiac Film Club</a>) for post screening discussion. *Apologies for the poor quality of the live recorded sound on this episode. There was a technical fault and there was no much we could do in post-production to rectify the problem. Recommend that you use headphones for this one. You can listen to The Cinematologists for free, wherever you listen to podcasts: <a href="https://podfollow.com/the-cinematologists-podcast" rel="nofollow" target="_blank">click here to follow</a>. We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: <a href="https://www.patreon.com/cinematologists" rel="nofollow" target="_blank">https://www.patreon.com/cinematologists</a>. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and <a href="https://twitter.com/Cinematologists" rel="nofollow" target="_blank">sharing on Social Media</a> is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists’ Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass &amp; guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing

Censor (w/ Sarah Cleaver)

The centre piece of our second episode is guest host Savina Petkova's interview with Ruben Östlund about his latest film Triangle of Sadness. This follow-up to the The Square, which also won the top prize at Cannes, is another acerbic satirical intervention into the hypocrisies of liberal capitalism. "Triangle" is perhaps more laugh out loud funny than his previous work, but draws on similar socio-political observations that are all too familiar but presenting them through a thought experiment which reverses hierarchies of power around wealth, value, class and social roles.  Also, Dario talks to the LFF director Tricia Tuttle who is ending her 5 year tenure-ship this year. They discuss her legacy particular around accessibility, weathering Covid, and the expansion of programming to encompass many different forms of cinematic experience. Also the political role of festivals comes up and Tricia gives her thoughts on the collapse of the Edinburgh film festival and the many challenges that UK cinema-going faces. Dario also talks to a student from Ravensbourne University, Tom Wright, who came to the festival as part of the BFI academy programme. He waxes lyrical about Mark Jenkins' Enys Men, which of course we will be hoping to cover in-depth in an upcoming episode.  And Dario and Savina round up by talking about a few of the other festival highlights including Mia Hansen Love's One Fine Morning and Charlotte Wells' directorial debut Aftersun. --- You can listen to The Cinematologists for free, wherever you listen to podcasts: click here to follow. We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: https://www.patreon.com/cinematologists. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and sharing on Social Media is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists’ Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass &amp; guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing

The centre piece of our second episode is guest host Savina Petkova's interview with Ruben Östlund about his latest film Triangle of Sadness. This follow-up to the The Square, which also won the top prize at Cannes, is another acerbic satirical intervention into the hypocrisies of liberal capitalism. "Triangle" is perhaps more laugh out loud funny than his previous work, but draws on similar socio-political observations that are all too familiar but presenting them through a thought experiment which reverses hierarchies of power around wealth, value, class and social roles.  Also, Dario talks to the LFF director Tricia Tuttle who is ending her 5 year tenure-ship this year. They discuss her legacy particular around accessibility, weathering Covid, and the expansion of programming to encompass many different forms of cinematic experience. Also the political role of festivals comes up and Tricia gives her thoughts on the collapse of the Edinburgh film festival and the many challenges that UK cinema-going faces. Dario also talks to a student from Ravensbourne University, Tom Wright, who came to the festival as part of the BFI academy programme. He waxes lyrical about Mark Jenkins' Enys Men, which of course we will be hoping to cover in-depth in an upcoming episode.  And Dario and Savina round up by talking about a few of the other festival highlights including Mia Hansen Love's One Fine Morning and Charlotte Wells' directorial debut Aftersun. --- You can listen to The Cinematologists for free, wherever you listen to podcasts: <a href="https://podfollow.com/the-cinematologists-podcast" rel="nofollow" target="_blank">click here to follow</a>. We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: <a href="https://www.patreon.com/cinematologists" rel="nofollow" target="_blank">https://www.patreon.com/cinematologists</a>. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and <a href="https://twitter.com/Cinematologists" rel="nofollow" target="_blank">sharing on Social Media</a> is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists’ Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass &amp; guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing

London Film Festival - Part 2

Enjoyed your first podcast from Berlinale very much. I like that you don&#39;t get into the weeds too much since we listeners have not seen the films. Joseph Owen is an insightful and enjoyable reviewer. Please have him on again. Savina is film academic reviewer smart and interesting to have her particular point of view.

Berlinale Festival Report #1

My absolute favorite film podcast. So far they have done a fantastic job choosing a variety of great films and the analysis is in-depth without being pretentious or overly academic - the discussions are both accessible and intelligent/nuanced. Neil and Dario’s passion for film is very apparent in their chats, hearing them speak (and argue!) gives me a greater appreciation for the films I’ve already seen and gets me excited to seek-out the ones that I haven’t seen.

I also quite enjoy the format of the program. They always interview an interesting person between the before and after analysis of the film, this breaks up the discussions nicely and differentiates The Cinematologists from other film discussion podcasts that are quite monotonous.

I highly recommend the Cinematologists to both cinephiles and casual viewers. I enjoy it immensely and I hope it continues for a long time.

Excellent!

The Cinematologists Podcast

Season 10 of the Cinematologists podcast kicks off with a double bill of episodes from the Film-Philosophy Conference held at the University of Brighton in July. Hosted by our very own Dario Llinares the event which boasted an internationally renowned line-up of keynotes and delegates.  Both episodes are made up of interviews we managed to grab as the conference progressed and, we hope gives you a sense of the eclectic mix of themes, methodologies and films that were discussed. Neil and Dario are joined on interviewing duties by Kat Zabecka, who studies at the University of Edinburgh. Shownotes 0.0 Introduction - Dario and Neil Discuss the build-up to the conference. 8:45 Janet Harbord (with Dario) Janet's keynote speech entitled Film as a Training for Neurotypical life explores gesture in medical film, focusing on the autistic gesture as a practice that resists interpretation through conventional means, troubling the terms of intention and agency. 26:40 Matt Holtmeier (with Neil) Matt discusses the video essay he screened at the conference - Vital Coasts, Mortal Oceans: The Pearl Button as Media Environmental Philosophy - interweaving Chilean philosophers Humberto Maturana, Francisco Varela, and Ricardo Rozzi, with Patricio Guzman’s cosomovisions in order to highlight the complex ecological insights at the intersection of indigenous thought and film form. 37:00 Savina Petkova (with Kat) Savina talks about her paper Real Metaphors. Animals in the Films of Yorgos Lanthimos and the role of animetaphors, Akira Lippit’s eloquent way of describing a non-anthropocentric way to look at animals and animal transformations. 50:42 Murray Pomerance (with Dario) Returning to The Cinematologists Murray outlines The Sound of Silence and his formulation of the "screaming silence" created by the sound design in the famous shower scene in Hitchcock's psycho. 01:10:57 Mila Zuo (with Kat). Mila's paper, entitled The Girlfriend Experience: Virtual Beauty and Love in Post-Cinematic Times, explores the ways new media technologies (and their representations) enable a fetishistic disavowal in virtual displays of feminine beauty and unfaithful love. 01:31:00 Colin Heber-Percy (with Dario) Under the Skin offers fruitful material for philosophical analysis and Colin's analysis - "The Flesh is Weak." Empathy and becoming human in Jonathan Glazer's Under the Skin - analyses the film's “mechanics” of illusion, its deconstruction of cinema itself, reversing the gaze of the viewer: this is a film that observes us. 01:44:20 Lina Jurdeczka (with Neil). Lina's work - Untimely Cinephilia and Spectral Images in Phoenix and Ida - examines films that are set in cultural climates that seek to move on from the trauma of the Holocaust: Germany in 1945 and Poland in 1961. Yet formally their film-historical imaginaries emphasise the co-existence of past and present, dismantling the possibility of closure. Also listen on: iTunes: https://itunes.apple.com/gb/podcast/the-cinematologists-podcast/id981479854?mt=2 Website: www.cinematologists.com PlayerFM: https://player.fm/series/series-2416725 Spotify: https://open.spotify.com/show/0RjNz8XDkLdbKZuj9Pktyh Patreon: https://www.patreon.com/cinematologists

Season 10 of the Cinematologists podcast kicks off with a double bill of episodes from the Film-Philosophy Conference held at the University of Brighton in July. Hosted by our very own Dario Llinares the event which boasted an internationally renowned line-up of keynotes and delegates.  Both episodes are made up of interviews we managed to grab as the conference progressed and, we hope gives you a sense of the eclectic mix of themes, methodologies and films that were discussed. Neil and Dario are joined on interviewing duties by Kat Zabecka, who studies at the University of Edinburgh. Shownotes 0.0 Introduction - Dario and Neil Discuss the build-up to the conference. 8:45 <a href="https://www.qmul.ac.uk/sllf/film-studies/people/academic/profiles/harbord.html" rel="nofollow" target="_blank">Janet Harbord</a> (with Dario) Janet's keynote speech entitled Film as a Training for Neurotypical life explores gesture in medical film, focusing on the autistic gesture as a practice that resists interpretation through conventional means, troubling the terms of intention and agency. 26:40 <a href="http://matthewholtmeier.com/" rel="nofollow" target="_blank">Matt Holtmeier </a>(with Neil) Matt discusses the video essay he screened at the conference - Vital Coasts, Mortal Oceans: The Pearl Button as Media Environmental Philosophy - interweaving Chilean philosophers Humberto Maturana, Francisco Varela, and Ricardo Rozzi, with Patricio Guzman’s cosomovisions in order to highlight the complex ecological insights at the intersection of indigenous thought and film form. 37:00 <a href="https://mubi.com/notebook/posts/author/586" rel="nofollow" target="_blank">Savina Petkova</a> (with Kat) Savina talks about her paper Real Metaphors. Animals in the Films of Yorgos Lanthimos and the role of animetaphors, Akira Lippit’s eloquent way of describing a non-anthropocentric way to look at animals and animal transformations. <a href="https://edinburghuniversitypress.com/murray-pomerance.html" rel="nofollow" target="_blank">50:42 Murray Pomerance</a> (with Dario) Returning to The Cinematologists Murray outlines The Sound of Silence and his formulation of the "screaming silence" created by the sound design in the famous shower scene in Hitchcock's psycho. <a href="https://thfl.cms.arts.ubc.ca/profile/mila-zuo/" rel="nofollow" target="_blank">01:10:57 Mila Zuo </a>(with Kat). Mila's paper, entitled The Girlfriend Experience: Virtual Beauty and Love in Post-Cinematic Times, explores the ways new media technologies (and their representations) enable a fetishistic disavowal in virtual displays of feminine beauty and unfaithful love. <a href="https://www.unitedagents.co.uk/colin-heber-percy" rel="nofollow" target="_blank">01:31:00 Colin Heber-Percy</a> (with Dario) Under the Skin offers fruitful material for philosophical analysis and Colin's analysis - "The Flesh is Weak." Empathy and becoming human in Jonathan Glazer's Under the Skin - analyses the film's “mechanics” of illusion, its deconstruction of cinema itself, reversing the gaze of the viewer: this is a film that observes us. <a href="https://kclpure.kcl.ac.uk/portal/en/persons/lina-jurdeczka(3d1fcf61-48e0-4cfe-b835-5a2b414720b8).html" rel="nofollow" target="_blank">01:44:20 Lina Jurdeczka</a> (with Neil). Lina's work - Untimely Cinephilia and Spectral Images in Phoenix and Ida - examines films that are set in cultural climates that seek to move on from the trauma of the Holocaust: Germany in 1945 and Poland in 1961. Yet formally their film-historical imaginaries emphasise the co-existence of past and present, dismantling the possibility of closure. Also listen on: iTunes: <a href="https://itunes.apple.com/gb/podcast/the-cinematologists-podcast/id981479854?mt=2" rel="nofollow" target="_blank">https://itunes.apple.com/gb/podcast/the-cinematologists-podcast/id981479854?mt=2</a> Website: <a href="http://www.cinematologists.com/" rel="nofollow" target="_blank">www.cinematologists.com</a> PlayerFM: <a href="https://player.fm/series/series-2416725" rel="nofollow" target="_blank">https://player.fm/series/series-2416725</a> Spotify: <a href="https://open.spotify.com/show/0RjNz8XDkLdbKZuj9Pktyh" rel="nofollow" target="_blank">https://open.spotify.com/show/0RjNz8XDkLdbKZuj9Pktyh</a> Patreon: <a href="https://www.patreon.com/cinematologists" rel="nofollow" target="_blank">https://www.patreon.com/cinematologists</a>

Film-Philosophy Conference 2019 (part 1)

Our long-awaited final episode in partnership with the BFI’s Comedy Genius season is finally here and it’s a doozy. Compiled over the last few months as the national season was taking place between November and January, this episode sees a diverse range of film critics, academics, filmmakers and an illustrator (as well as Neil and Dario of course) sharing some of their favourite comedy films and performances. This episode was envisaged as a joyous journey into screen comedy and our guests have picked a range of performers from cinema (as well as television and stand-up comedy) history to reflect upon. We hope it serves as a reminder of the joy and importance of laughing and the innate and deeply personal connection that audiences have with screen comedy.  Thanks to the BFI FAN Network for supporting the making of this episode. Thanks also, to our amazing roster of participants who shared their time and their love of comedic performances in all different shades. Our line-up: Dr Sabina Stent talking about Spy / Scott Tanner Jones talking about Midnight Run / Dr Felicity Gee talking about Nicole Kidman in To Die For / Jason Wood talking about Sons of the Desert / Annabel Grundy talking about Jennifer Saunders / Ash Clark talking about Eddie Marsan in Happy-Go Lucky / Ren Zelen talking about Peter Sellers as Inspector Clouseau / Hel Harding-Jones talking about The Out Of Towners / Mark Jenkin talking about Stir Crazy / Hope Dickson Leach talking about 3 Joan Cusack performances / David Litchfield talking about Raising Arizona / Violet Lucca talking about Step Brothers &amp; Dr Racquel Gates talking about Katt Williams and his stand-up special It’s Pimpin’ Pimpin’ The Wile E. Coyote cartoon featured in this episode can be viewed here. Listen on: iTunes: https://itunes.apple.com/gb/podcast/the-cinematologists-podcast/id981479854?mt=2 Website: www.cinematologists.com PlayerFM: https://player.fm/series/series-2416725 Spotify: https://open.spotify.com/show/0RjNz8XDkLdbKZuj9Pktyh Patreon: https://www.patreon.com/cinematologists

Our long-awaited final episode in partnership with the <a href="https://www.bfi.org.uk/comedy-genius" rel="nofollow" target="_blank">BFI’s Comedy Genius</a> season is finally here and it’s a doozy. Compiled over the last few months as the national season was taking place between November and January, this episode sees a diverse range of film critics, academics, filmmakers and an illustrator (as well as Neil and Dario of course) sharing some of their favourite comedy films and performances. This episode was envisaged as a joyous journey into screen comedy and our guests have picked a range of performers from cinema (as well as television and stand-up comedy) history to reflect upon. We hope it serves as a reminder of the joy and importance of laughing and the innate and deeply personal connection that audiences have with screen comedy.  Thanks to the <a href="https://www.bfi.org.uk/supporting-uk-film/distribution-exhibition-funding/film-audience-network" rel="nofollow" target="_blank">BFI FAN Network</a> for supporting the making of this episode. Thanks also, to our amazing roster of participants who shared their time and their love of comedic performances in all different shades. Our line-up: <a href="https://twitter.com/sabinastent" rel="nofollow" target="_blank">Dr Sabina Stent</a> talking about <a href="https://www.imdb.com/title/tt3079380/?ref_=nv_sr_2" rel="nofollow" target="_blank">Spy</a> / <a href="https://vimeo.com/carboneseries" rel="nofollow" target="_blank">Scott Tanner Jones</a> talking about <a href="https://www.imdb.com/title/tt0095631/?ref_=nv_sr_1" rel="nofollow" target="_blank">Midnight Run</a> / <a href="https://twitter.com/fiandshoegaze" rel="nofollow" target="_blank">Dr Felicity Gee</a> talking about Nicole Kidman in <a href="https://www.imdb.com/title/tt0114681/?ref_=nv_sr_2" rel="nofollow" target="_blank">To Die For</a> / <a href="https://twitter.com/jwoodfilm" rel="nofollow" target="_blank">Jason Wood</a> talking about Sons of the Desert / <a href="https://twitter.com/Annabel__always" rel="nofollow" target="_blank">Annabel Grundy</a> talking about Jennifer Saunders / <a href="https://twitter.com/_Ash_Clark" rel="nofollow" target="_blank">Ash Clark</a> talking about Eddie Marsan in <a href="https://www.imdb.com/title/tt1045670/?ref_=nv_sr_1" rel="nofollow" target="_blank">Happy-Go Lucky</a> / <a href="https://twitter.com/RenZelen" rel="nofollow" target="_blank">Ren Zelen</a> talking about Peter Sellers as Inspector Clouseau / <a href="https://twitter.com/ms_mjolnir" rel="nofollow" target="_blank">Hel Harding-Jones</a> talking about <a href="https://www.imdb.com/title/tt0066193/?ref_=nv_sr_3" rel="nofollow" target="_blank">The Out Of Towners</a> / <a href="https://twitter.com/Mark_Jenkin" rel="nofollow" target="_blank">Mark Jenkin</a> talking about <a href="https://www.imdb.com/title/tt0081562/?ref_=nv_sr_1" rel="nofollow" target="_blank">Stir Crazy</a> / <a href="https://twitter.com/hopedickle" rel="nofollow" target="_blank">Hope Dickson Leach</a> talking about 3 Joan Cusack performances / <a href="https://twitter.com/dc_litchfield" rel="nofollow" target="_blank">David Litchfield</a> talking about <a href="https://www.imdb.com/title/tt0093822/?ref_=nv_sr_1" rel="nofollow" target="_blank">Raising Arizona</a> / <a href="https://twitter.com/unbuttonmyeyes" rel="nofollow" target="_blank">Violet Lucca</a> talking about <a href="https://www.imdb.com/title/tt0838283/?ref_=nv_sr_1" rel="nofollow" target="_blank">Step Brothers</a> &amp; <a href="https://twitter.com/racquelgates" rel="nofollow" target="_blank">Dr Racquel Gates</a> talking about Katt Williams and his stand-up special <a href="https://www.netflix.com/gb/title/70106080" rel="nofollow" target="_blank">It’s Pimpin’ Pimpin’</a> The Wile E. Coyote cartoon featured in this episode can be viewed <a href="https://www.youtube.com/watch?v=GdKkI1vGsmE&amp;pbjreload=10" rel="nofollow" target="_blank">here</a>. Listen on: iTunes: <a href="https://itunes.apple.com/gb/podcast/the-cinematologists-podcast/id981479854?mt=2" rel="nofollow" target="_blank">https://itunes.apple.com/gb/podcast/the-cinematologists-podcast/id981479854?mt=2</a> Website: <a href="http://www.cinematologists.com" rel="nofollow" target="_blank">www.cinematologists.com</a> PlayerFM: <a href="https://player.fm/series/series-2416725" rel="nofollow" target="_blank">https://player.fm/series/series-2416725</a> Spotify: <a href="https://open.spotify.com/show/0RjNz8XDkLdbKZuj9Pktyh" rel="nofollow" target="_blank">https://open.spotify.com/show/0RjNz8XDkLdbKZuj9Pktyh</a> Patreon: <a href="https://www.patreon.com/cinematologists" rel="nofollow" target="_blank">https://www.patreon.com/cinematologists</a>

BFI Comedy Genius Finale

The year is 2027, the world has collapsed but Britain soldiers on. Alfonso Cuarón's Children of Men has seemingly only increased in significance and appreciation since its release in 2006. Based loosely on a P.D. James novel Cuarón imagines a world that has lost hope because of human infertility but this only the narrative starting point for an aesthetically and thematically layered dystopian nightmare. Discussion of the film's many social, cultural and political elements sometimes takes away from the fact it is a brilliant piece of action cinema with an aesthetic immediacy and depth of world-building, that has become a signature of Cuarón's filmmaking We screened the film at Kings College London and would like to thank PhD Student Joseph Jenner for organising the event and co-presenting the screening with Dario. Show notes Why Children of Men has never been as shocking as it is now - Nicolas Barber (BBC) Humanity Adrift: Race, Materiality, and Allegory in Alfonso Cuarón's Children of Men - Zahid R. Chaudhary (Camera Obscura) Future Shock - Abraham Riesman (Vulture) Why Alfonso Cuarón's anti-Blade Runner looks more relevant than ever - Stephen Dalton (BFI) The Child to Come: Life After the Human Catastrophe - Rebekah Sheldon Listen on: iTunes: https://itunes.apple.com/gb/podcast/the-cinematologists-podcast/id981479854?mt=2 Website: www.cinematologists.com PlayerFM: https://player.fm/series/series-2416725 Spotify: https://open.spotify.com/show/0RjNz8XDkLdbKZuj9Pktyh Patreon: https://www.patreon.com/cinematologists

The year is 2027, the world has collapsed but Britain soldiers on. Alfonso Cuarón's Children of Men has seemingly only increased in significance and appreciation since its release in 2006. Based loosely on a P.D. James novel Cuarón imagines a world that has lost hope because of human infertility but this only the narrative starting point for an aesthetically and thematically layered dystopian nightmare. Discussion of the film's many social, cultural and political elements sometimes takes away from the fact it is a brilliant piece of action cinema with an aesthetic immediacy and depth of world-building, that has become a signature of Cuarón's filmmaking We screened the film at Kings College London and would like to thank PhD Student <a href="https://kclpure.kcl.ac.uk/portal/en/persons/joseph-jenner(2e043f5e-8c5b-409f-a693-09a08d6dbb70).html" rel="nofollow" target="_blank">Joseph Jenner</a> for organising the event and co-presenting the screening with Dario. Show notes <a href="http://www.bbc.com/culture/story/20161215-why-children-of-men-has-never-been-as-shocking-as-it-is-now" rel="nofollow" target="_blank">Why Children of Men has never been as shocking as it is now - Nicolas Barber (BBC)</a> <a href="https://read.dukeupress.edu/camera-obscura/article-abstract/24/3%20(72)/73/58427" rel="nofollow" target="_blank">Humanity Adrift: Race, Materiality, and Allegory in Alfonso Cuarón's Children of Men - Zahid R. Chaudhary (Camera Obscura)</a> <a href="https://www.vulture.com/2016/12/children-of-men-alfonso-cuaron-c-v-r.html" rel="nofollow" target="_blank">Future Shock - Abraham Riesman (Vulture)</a> <a href="https://www.bfi.org.uk/news-opinion/news-bfi/features/children-men-alfonso-cuaron" rel="nofollow" target="_blank">Why Alfonso Cuarón's anti-Blade Runner looks more relevant than ever - Stephen Dalton (BFI)</a> <a href="https://www.jstor.org/stable/10.5749/j.ctt1g69zmx" rel="nofollow" target="_blank">The Child to Come: Life After the Human Catastrophe - Rebekah Sheldon</a> Listen on: iTunes: <a href="https://itunes.apple.com/gb/podcast/the-cinematologists-podcast/id981479854?mt=2" rel="nofollow" target="_blank">https://itunes.apple.com/gb/podcast/the-cinematologists-podcast/id981479854?mt=2</a> Website: <a href="http://www.cinematologists.com/" rel="nofollow" target="_blank">www.cinematologists.com</a> PlayerFM: <a href="https://player.fm/series/series-2416725" rel="nofollow" target="_blank">https://player.fm/series/series-2416725</a> Spotify: <a href="https://open.spotify.com/show/0RjNz8XDkLdbKZuj9Pktyh" rel="nofollow" target="_blank">https://open.spotify.com/show/0RjNz8XDkLdbKZuj9Pktyh</a> Patreon: <a href="https://www.patreon.com/cinematologists" rel="nofollow" target="_blank">https://www.patreon.com/cinematologists</a>

Children of Men

Midge Costin

When we heard that a documentary about the art of film sound was being released we simply had to check it out. Fortuitously, the film was playing at this year's London Film Festival and we were lucky enough to be able to interview the film's director Midge Costin. Midge has an unbelievable C.V. herself as a sound editor working on many of the big action movies of the 80s and 90s including The Rock, Armageddon, Days of Thunder and Crimson Tide. As a graduate of the University of Southern California, she shares the history of American film sound development with the likes of Walter Murch, Ben Burtt &amp; Gary Rydstrom. Her film tracks the experimental developments of sound design and explores the importance of sound to the very DNA of cinema. Neil and Dario discuss some of the questions and examples that the film raises in terms of the symbiosis of sound and image and, in keeping with this subject matter, Dario has created an edit utilising the aural examples that are cited throughout.  (Thanks to Debbie Murray of Aim Publicity) Shownotes Making Waves: The Art of Cinematic Sound Fuller at Fox Boxset (reviewed by Neil at the beginning) Crimson Tide - I Do Not Concur Terminator 2: Parents Tomita - Snowflakes are Dancing A Star is Born - Barbara Streisand Punch Drunk Love - Crash Punch Drunk Love - Harmonium The Sounds of Clarie Denis The Apartment - Champagne  Throne of Blood - Arrows Gravity - Explorer's been hit The Conversation - First recordings All the President's Men - Phonecalls Under the Skin - First victim The Outlaw Josey Wales - Pistols Jaws - You're Gonna Need a Bigger Boat You Were Never Really Here - Fight You can also listen to The Cinematologists here: iTunes: https://itunes.apple.com/gb/podcast/the-cinematologists-podcast/id981479854?mt=2 Our Website: www.cinematologists.com PlayerFM: https://player.fm/series/series-2416725 Spotify: https://open.spotify.com/show/0RjNz8XDkLdbKZuj9Pktyh Patreon: https://www.patreon.com/cinematologists

When we heard that a documentary about the art of film sound was being released we simply had to check it out. Fortuitously, the film was playing at this year's London Film Festival and we were lucky enough to be able to interview the film's director Midge Costin. Midge has an unbelievable C.V. herself as a sound editor working on many of the big action movies of the 80s and 90s including The Rock, Armageddon, Days of Thunder and Crimson Tide. As a graduate of the University of Southern California, she shares the history of American film sound development with the likes of Walter Murch, Ben Burtt &amp; Gary Rydstrom. Her film tracks the experimental developments of sound design and explores the importance of sound to the very DNA of cinema. Neil and Dario discuss some of the questions and examples that the film raises in terms of the symbiosis of sound and image and, in keeping with this subject matter, Dario has created an edit utilising the aural examples that are cited throughout.  (Thanks to Debbie Murray of Aim Publicity) Shownotes <a href="https://www.makingwavesmovie.com/" rel="nofollow" target="_blank">Making Waves: The Art of Cinematic Sound</a> <a href="https://eurekavideo.co.uk/movie/fuller-at-fox-five-films-1951-1957-fixed-bayonets-pickup-on-south-street-hell-and-high-water-house-of-bamboo-forty-guns/" rel="nofollow" target="_blank">Fuller at Fox Boxset</a> (reviewed by Neil at the beginning) <a href="https://www.youtube.com/watch?time_continue=1&amp;v=aHMER1h4BNU" rel="nofollow" target="_blank">Crimson Tide - I Do Not Concur</a> <a href="https://www.youtube.com/watch?v=MT_u9Rurrqg&amp;list=RDQMTMqdZLD2Zj8&amp;start_radio=1" rel="nofollow" target="_blank">Terminator 2: Parents</a> <a href="https://youtu.be/f4uYIaLLYlQ?t=634" rel="nofollow" target="_blank">Tomita - Snowflakes are Dancing</a> <a href="https://www.youtube.com/watch?v=SZ1WjrA5L0s&amp;list=PL8-1WUMgIAYtq1Vj6JMTggDrleqdaZ0Pa" rel="nofollow" target="_blank">A Star is Born - Barbara Streisand</a> <a href="https://www.youtube.com/watch?v=F04Gln02mRI" rel="nofollow" target="_blank">Punch Drunk Love - Crash</a> <a href="https://www.youtube.com/watch?v=OftqMORxGCE" rel="nofollow" target="_blank">Punch Drunk Love - Harmonium</a> <a href="https://www.youtube.com/watch?v=k6G73oz_1G0" rel="nofollow" target="_blank">The Sounds of Clarie Denis</a> <a href="https://www.youtube.com/watch?v=_kIcHsbeobY" rel="nofollow" target="_blank">The Apartment - Champagne</a> <a href="https://www.youtube.com/watch?v=3GvVzvoEx4w" rel="nofollow" target="_blank">Throne of Blood - Arrows</a> <a href="https://www.youtube.com/watch?v=_YQyKOAq-rA" rel="nofollow" target="_blank">Gravity - Explorer's been hit</a> <a href="https://www.youtube.com/watch?v=wlwdpNw1FW8" rel="nofollow" target="_blank">The Conversation - First recordings</a> <a href="https://www.youtube.com/watch?v=vLt6djxhNe8" rel="nofollow" target="_blank">All the President's Men - Phonecalls</a> <a href="https://youtu.be/zE56AUIDkag?t=102" rel="nofollow" target="_blank">Under the Skin - First victim</a> <a href="https://www.youtube.com/watch?v=3KSRL2Edsck" rel="nofollow" target="_blank">The Outlaw Josey Wales - Pistols</a> <a href="https://www.youtube.com/watch?v=2I91DJZKRxs" rel="nofollow" target="_blank">Jaws - You're Gonna Need a Bigger Boat</a> <a href="https://www.youtube.com/watch?v=zz-NFhPU6c4" rel="nofollow" target="_blank">You Were Never Really Here - Fight</a> You can also listen to The Cinematologists here: iTunes: <a href="https://itunes.apple.com/gb/podcast/the-cinematologists-podcast/id981479854?mt=2" rel="nofollow" target="_blank">https://itunes.apple.com/gb/podcast/the-cinematologists-podcast/id981479854?mt=2</a> Our Website: <a href="http://www.cinematologists.com/" rel="nofollow" target="_blank">www.cinematologists.com</a> PlayerFM: <a href="https://player.fm/series/series-2416725" rel="nofollow" target="_blank">https://player.fm/series/series-2416725</a> Spotify: <a href="https://open.spotify.com/show/0RjNz8XDkLdbKZuj9Pktyh" rel="nofollow" target="_blank">https://open.spotify.com/show/0RjNz8XDkLdbKZuj9Pktyh</a> Patreon: <a href="https://www.patreon.com/cinematologists" rel="nofollow" target="_blank">https://www.patreon.com/cinematologists</a>

Making Waves (w/ dir. Midge Costin)

The second of instalment of our BFI Musicals two-parter sees Neil and Dario take a deep dive into the glorious world of Barbra Streisand. Neil was invited to Plymouth Arts Centre to take part in the Reclaim The Frame screening of Funny Girl (a film neither Neil nor Dario had seen), hosted by Mia Bays and the brilliant Birds Eye View organisation. This episode sees Neil and Dario discuss the stardom and career of Streisand, alongside an interview between Neil and Mia, Mia’s introduction to the screening and the post-screening panel featuring Neil, director and music video legend Andrew ‘Wiz’ Whiston and Professor of Performance Studies at the University of Plymouth, Prof. Roberta Mock. Thanks to Annabel Grundy and the team at BFI National Seasons for the opportunity and support. You can also listen to The Cinematologists here: iTunes: https://itunes.apple.com/gb/podcast/the-cinematologists-podcast/id981479854?mt=2 Our Website: www.cinematologists.com PlayerFM: https://player.fm/series/series-2416725 Spotify: https://open.spotify.com/show/0RjNz8XDkLdbKZuj9Pktyh Patreon: https://www.patreon.com/cinematologists

The second of instalment of our BFI Musicals two-parter sees Neil and Dario take a deep dive into the glorious world of Barbra Streisand. Neil was invited to Plymouth Arts Centre to take part in the Reclaim The Frame screening of Funny Girl (a film neither Neil nor Dario had seen), hosted by <a href="https://twitter.com/miafilms" rel="nofollow" target="_blank">Mia Bays</a> and the brilliant <a href="https://twitter.com/birdseyeviewff?lang=en" rel="nofollow" target="_blank">Birds Eye View</a> organisation. This episode sees Neil and Dario discuss the stardom and career of Streisand, alongside an interview between Neil and Mia, Mia’s introduction to the screening and the post-screening panel featuring Neil, director and music video legend <a href="https://wizfilm.com/biog/" rel="nofollow" target="_blank">Andrew ‘Wiz’ Whiston</a> and Professor of Performance Studies at the University of Plymouth, <a href="https://twitter.com/roberta_mock" rel="nofollow" target="_blank">Prof. Roberta Mock</a>. Thanks to Annabel Grundy and the team at BFI National Seasons for the opportunity and support. You can also listen to The Cinematologists here: iTunes: <a href="https://itunes.apple.com/gb/podcast/the-cinematologists-podcast/id981479854?mt=2" rel="nofollow" target="_blank">https://itunes.apple.com/gb/podcast/the-cinematologists-podcast/id981479854?mt=2</a> Our Website: <a href="http://www.cinematologists.com/" rel="nofollow" target="_blank">www.cinematologists.com</a> PlayerFM: <a href="https://player.fm/series/series-2416725" rel="nofollow" target="_blank">https://player.fm/series/series-2416725</a> Spotify: <a href="https://open.spotify.com/show/0RjNz8XDkLdbKZuj9Pktyh" rel="nofollow" target="_blank">https://open.spotify.com/show/0RjNz8XDkLdbKZuj9Pktyh</a> Patreon: <a href="https://www.patreon.com/cinematologists" rel="nofollow" target="_blank">https://www.patreon.com/cinematologists</a>

BFI Musicals Pt. 2 / Funny Girl

For episode 90 Dario and Neil go old school for the film and the format. In this classically structured episode the focus of attention is on the 1994 action classic Speed, screened for the Film at Falmouth 2019 Freshers audience at The Poly in Falmouth. The discussion ranges across contemporary and classic action movies and stars including Harrison Ford, Arnie, The Stath, Cruise, Aliens, Dredd and much more, as well as the film as in service of pure spectacle, the uniqueness of Keanu and the special chemistry he shares in this film with co-star Sandra Bullock. Thanks to The Poly, and Dr Verena Von Eicken for co-hosting the live event. --- Here's a link to Neil's piece on Doc 'n Roll Fest for the Quietus that he discusses early on this episode. You can also listen to The Cinematologists here: iTunes: https://itunes.apple.com/gb/podcast/the-cinematologists-podcast/id981479854?mt=2 Our Website: www.cinematologists.com PlayerFM: https://player.fm/series/series-2416725 Spotify: https://open.spotify.com/show/0RjNz8XDkLdbKZuj9Pktyh Patreon: https://www.patreon.com/cinematologists

For episode 90 Dario and Neil go old school for the film and the format. In this classically structured episode the focus of attention is on the 1994 action classic Speed, screened for the Film at Falmouth 2019 Freshers audience at The Poly in Falmouth. The discussion ranges across contemporary and classic action movies and stars including Harrison Ford, Arnie, The Stath, Cruise, Aliens, Dredd and much more, as well as the film as in service of pure spectacle, the uniqueness of Keanu and the special chemistry he shares in this film with co-star Sandra Bullock. Thanks to The Poly, and Dr Verena Von Eicken for co-hosting the live event. --- <a href="https://thequietus.com/articles/27386-doc-n-roll-2019" rel="nofollow" target="_blank">Here's a link</a> to Neil's piece on Doc 'n Roll Fest for the Quietus that he discusses early on this episode. You can also listen to The Cinematologists here: iTunes: <a href="https://itunes.apple.com/gb/podcast/the-cinematologists-podcast/id981479854?mt=2" rel="nofollow" target="_blank">https://itunes.apple.com/gb/podcast/the-cinematologists-podcast/id981479854?mt=2</a> Our Website: <a href="http://www.cinematologists.com/" rel="nofollow" target="_blank">www.cinematologists.com</a> PlayerFM: <a href="https://player.fm/series/series-2416725" rel="nofollow" target="_blank">https://player.fm/series/series-2416725</a> Spotify: <a href="https://open.spotify.com/show/0RjNz8XDkLdbKZuj9Pktyh" rel="nofollow" target="_blank">https://open.spotify.com/show/0RjNz8XDkLdbKZuj9Pktyh</a> Patreon: <a href="https://www.patreon.com/cinematologists" rel="nofollow" target="_blank">https://www.patreon.com/cinematologists</a>

Speed

Doug Nichol

Both Neil and I are avid users of the typewriter so when we got the chance to speak to Doug Nichol the director of the 2017 documentary California Typewriter, it was a great chance to wax lyrical about the virtues of this 'obsolete' technology. On the surface, the film could have been overly nostalgic or, heaven forbid, dripping with retro hipsterism, but following the owner and staff of a repair shop originally opened in 1949 in Berkeley, a more profound story of how technological change affects the society and the lives within emerges. Also fascinating are the comments from famous names - including Tom Hanks, Sam Shepard and John Mayer - who see the typewriter as indispensable to their creative practice and personal identity. Other characters in the documentary reflect a more obsessive reverence and eccentric application of the machine that in many ways defined 20th-century modernity. Indeed, the film ruminates on our fundamental relationship to technology suggesting that the analogue and the digital have a symbiotic relationship rather than one of death and replacement.  Follow @Doug_Nichol &amp; @Caltypefilm on Twitter. Also listen on: iTunes: https://itunes.apple.com/gb/podcast/the-cinematologists-podcast/id981479854?mt=2 Website: www.cinematologists.com PlayerFM: https://player.fm/series/series-2416725 Spotify: https://open.spotify.com/show/0RjNz8XDkLdbKZuj9Pktyh Patreon: https://www.patreon.com/cinematologists

Both Neil and I are avid users of the typewriter so when we got the chance to speak to <a href="https://en.wikipedia.org/wiki/Doug_Nichol" rel="nofollow" target="_blank">Doug Nichol</a> the director of the 2017 documentary California Typewriter, it was a great chance to wax lyrical about the virtues of this 'obsolete' technology. On the surface, the film could have been overly nostalgic or, heaven forbid, dripping with retro hipsterism, but following the owner and staff of a repair shop originally opened in 1949 in Berkeley, a more profound story of how technological change affects the society and the lives within emerges. Also fascinating are the comments from famous names - including Tom Hanks, Sam Shepard and John Mayer - who see the typewriter as indispensable to their creative practice and personal identity. Other characters in the documentary reflect a more obsessive reverence and eccentric application of the machine that in many ways defined 20th-century modernity. Indeed, the film ruminates on our fundamental relationship to technology suggesting that the analogue and the digital have a symbiotic relationship rather than one of death and replacement.  Follow @Doug_Nichol &amp; @Caltypefilm on Twitter. Also listen on: iTunes: <a href="https://itunes.apple.com/gb/podcast/the-cinematologists-podcast/id981479854?mt=2" rel="nofollow" target="_blank">https://itunes.apple.com/gb/podcast/the-cinematologists-podcast/id981479854?mt=2</a> Website: <a href="http://www.cinematologists.com/" rel="nofollow" target="_blank">www.cinematologists.com</a> PlayerFM: <a href="https://player.fm/series/series-2416725" rel="nofollow" target="_blank">https://player.fm/series/series-2416725</a> Spotify: <a href="https://open.spotify.com/show/0RjNz8XDkLdbKZuj9Pktyh" rel="nofollow" target="_blank">https://open.spotify.com/show/0RjNz8XDkLdbKZuj9Pktyh</a> Patreon: <a href="https://www.patreon.com/cinematologists" rel="nofollow" target="_blank">https://www.patreon.com/cinematologists</a>

California Typewriter (w/ dir. Doug Nichol)

In another first for the Cinematologists, we are hugely excited to present The Lobster with a live score from the classical group the Solem Quartet and in association with Picturehouses cinemas. Live cinema events featuring musical accompaniments are becoming more prevalent as part of the auditorium experience; they echo cinema's past but also a look to the future as audiences seek out material experiences that go beyond or add onto traditional screenings, and perhaps look for a break from the digital. This event took place at the beautiful Gate Cinema in Notting Hill, to a packed house, with Dario introducing the event and discussing the production with the musicians in a post-screening Q&amp;A. Devised, arranged and performed by The Solem Quartet the screening included classic pieces including Beethoven op. 18/1, Shostakovich Quartet no. 8, Schnittke Quartet no. 2, Schnittke Quintet for Piano and Strings, Stravinsky 3 Pieces for String Quartet, Britten Quartet no. 1, Strauss Don Quixote. The music underscores beautifully the dark humour and surrealist milieu of Lanthimos' social satire.  Winner of the 2014 Royal Over-Seas League Ensemble Competition, the Solem Quartet was formed in 2011 at the University of Manchester. The Quartet takes its name from the university's motto "arduus ad solem", meaning "striving towards the sun". The quartet enjoys a busy concert schedule performing at venues both across the UK – including Wigmore Hall, Queen Elizabeth Hall, Bridgewater Hall and Holywell Music Room – and internationally. In keeping with its name, the Solem Quartet’s first project was to play the Haydn Op. 20 “Sun” Quartets. Their repertoire is extensive, spanning the period from early Haydn to a broad spectrum of living composers including Larry Goves, Anna Meredith, John Luther Adams and Emily Howard, whose quartet ‘Afference’ they performed in a BBC Proms Extra broadcast, live on BBC Radio 3.  There are still dates available for upcoming live scorings of The Lobster. Click here for details  You can also listen to The Cinematologists here: iTunes: https://itunes.apple.com/gb/podcast/the-cinematologists-podcast/id981479854?mt=2 Our Website: www.cinematologists.com PlayerFM: https://player.fm/series/series-2416725 Spotify: https://open.spotify.com/show/0RjNz8XDkLdbKZuj9Pktyh Patreon: https://www.patreon.com/cinematologists

In another first for the Cinematologists, we are hugely excited to present The Lobster with a live score from the classical group the <a href="https://www.solemquartet.co.uk/about/" rel="nofollow" target="_blank">Solem Quartet</a> and in association with Picturehouses cinemas. Live cinema events featuring musical accompaniments are becoming more prevalent as part of the auditorium experience; they echo cinema's past but also a look to the future as audiences seek out material experiences that go beyond or add onto traditional screenings, and perhaps look for a break from the digital. This event took place at the beautiful <a href="https://www.picturehouses.com/cinema/the-gate" rel="nofollow" target="_blank">Gate Cinema in Notting Hill</a>, to a packed house, with Dario introducing the event and discussing the production with the musicians in a post-screening Q&amp;A. Devised, arranged and performed by The Solem Quartet the screening included classic pieces including Beethoven op. 18/1, Shostakovich Quartet no. 8, Schnittke Quartet no. 2, Schnittke Quintet for Piano and Strings, Stravinsky 3 Pieces for String Quartet, Britten Quartet no. 1, Strauss Don Quixote. The music underscores beautifully the dark humour and surrealist milieu of Lanthimos' social satire.  Winner of the 2014 Royal Over-Seas League Ensemble Competition, the Solem Quartet was formed in 2011 at the University of Manchester. The Quartet takes its name from the university's motto "arduus ad solem", meaning "striving towards the sun". The quartet enjoys a busy concert schedule performing at venues both across the UK – including Wigmore Hall, Queen Elizabeth Hall, Bridgewater Hall and Holywell Music Room – and internationally. In keeping with its name, the Solem Quartet’s first project was to play the Haydn Op. 20 “Sun” Quartets. Their repertoire is extensive, spanning the period from early Haydn to a broad spectrum of living composers including Larry Goves, Anna Meredith, John Luther Adams and Emily Howard, whose quartet ‘Afference’ they performed in a BBC Proms Extra broadcast, live on BBC Radio 3.  There are still dates available for upcoming live scorings of The Lobster. <a href="https://www.solemquartet.co.uk/solem-lates/" rel="nofollow" target="_blank">Click here</a> for details  You can also listen to The Cinematologists here: iTunes: <a href="https://itunes.apple.com/gb/podcast/the-cinematologists-podcast/id981479854?mt=2" rel="nofollow" target="_blank">https://itunes.apple.com/gb/podcast/the-cinematologists-podcast/id981479854?mt=2</a> Our Website: <a href="http://www.cinematologists.com/" rel="nofollow" target="_blank">www.cinematologists.com</a> PlayerFM: <a href="https://player.fm/series/series-2416725" rel="nofollow" target="_blank">https://player.fm/series/series-2416725</a> Spotify: <a href="https://open.spotify.com/show/0RjNz8XDkLdbKZuj9Pktyh" rel="nofollow" target="_blank">https://open.spotify.com/show/0RjNz8XDkLdbKZuj9Pktyh</a> Patreon: <a href="https://www.patreon.com/cinematologists" rel="nofollow" target="_blank">https://www.patreon.com/cinematologists</a>

The Lobster (w/ Solem Quartet Live Score)

The first of our episodes in partnership with the BFI’s Blockbuster season on Musicals finds us discussing our relationship to the genre and its descendants as well as responding to a series of interviews conducted by Neil over the last couple of months. Guests on this special episode are the critic/historian Pamela Hutchinson who gives a brilliant overview of the musical form and suggests some gems to look out for, writer Tom MacRae who talks about the process of adapting his own West End smash Everybody’s Talking About Jamie for the screen, and Justine Waddell from Kino Klassika, an amazing organisation bringing Russian and Soviet Cinema to the screen, talks about their stunning programme of Soviet Musicals touring cinemas from January 2020. To really celebrate the Movie Musical, this episode features a plethora of musical delights. You will be hearing (in order) – Leonard Bernstein’s overture from West Side Story, Have Yourself A Merry Little Christmas sung by Judy Garland, from Meet Me In St. Louis, Elvis Presley singing Trouble, from King Creole, the official trailer for the West End musical Everybody’s Talking About Jamie, the title song from Leto (Summer), Bradley Cooper &amp; Lady Gaga singing Shallow, from A Star Is Born, and Science Fiction Double Feature from The Rocky Horror Picture Show, sung by Richard O’Brien.  Thanks to Annabel Grundy and the team at BFI National Seasons for the opportunity and support. You can also listen to The Cinematologists here: iTunes: https://itunes.apple.com/gb/podcast/the-cinematologists-podcast/id981479854?mt=2 Our Website: www.cinematologists.com PlayerFM: https://player.fm/series/series-2416725 Spotify: https://open.spotify.com/show/0RjNz8XDkLdbKZuj9Pktyh Patreon: https://www.patreon.com/cinematologists

The first of our episodes in partnership with the BFI’s Blockbuster season on Musicals finds us discussing our relationship to the genre and its descendants as well as responding to a series of interviews conducted by Neil over the last couple of months. Guests on this special episode are the critic/historian <a href="https://twitter.com/PamHutch" rel="nofollow" target="_blank">Pamela Hutchinson</a> who gives a brilliant overview of the musical form and suggests some gems to look out for, writer <a href="https://twitter.com/tommacwriter" rel="nofollow" target="_blank">Tom MacRae</a> who talks about the process of adapting his own West End smash <a href="https://www.everybodystalkingaboutjamie.co.uk/" rel="nofollow" target="_blank">Everybody’s Talking About Jamie</a> for the screen, and <a href="https://twitter.com/KinoKlassika" rel="nofollow" target="_blank">Justine Waddell</a> from <a href="https://www.kinoklassikafoundation.org/project/melodia/" rel="nofollow" target="_blank">Kino Klassika</a>, an amazing organisation bringing Russian and Soviet Cinema to the screen, talks about their stunning programme of Soviet Musicals touring cinemas from January 2020. To really celebrate the Movie Musical, this episode features a plethora of musical delights. You will be hearing (in order) – Leonard Bernstein’s overture from West Side Story, Have Yourself A Merry Little Christmas sung by Judy Garland, from Meet Me In St. Louis, Elvis Presley singing Trouble, from King Creole, the official trailer for the West End musical Everybody’s Talking About Jamie, the title song from Leto (Summer), Bradley Cooper &amp; Lady Gaga singing Shallow, from A Star Is Born, and Science Fiction Double Feature from The Rocky Horror Picture Show, sung by Richard O’Brien.  Thanks to Annabel Grundy and the team at BFI National Seasons for the opportunity and support. You can also listen to The Cinematologists here: iTunes: <a href="https://itunes.apple.com/gb/podcast/the-cinematologists-podcast/id981479854?mt=2" rel="nofollow" target="_blank">https://itunes.apple.com/gb/podcast/the-cinematologists-podcast/id981479854?mt=2</a> Our Website: <a href="http://www.cinematologists.com/" rel="nofollow" target="_blank">www.cinematologists.com</a> PlayerFM: <a href="https://player.fm/series/series-2416725" rel="nofollow" target="_blank">https://player.fm/series/series-2416725</a> Spotify: <a href="https://open.spotify.com/show/0RjNz8XDkLdbKZuj9Pktyh" rel="nofollow" target="_blank">https://open.spotify.com/show/0RjNz8XDkLdbKZuj9Pktyh</a> Patreon: <a href="https://www.patreon.com/cinematologists" rel="nofollow" target="_blank">https://www.patreon.com/cinematologists</a>

Ep94a BFI Musicals

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