Andrew Grossman is a regular contributor to Bright Lights Film Journal, the editor of the anthology Queer Asian Cinema: Shadows in the Shade (2001), and a contributor to The New Dictionary of the History of Ideas.
Sunday, July 13 2014
Sexual rights in America remain both provisional and cynical; we know everyone should have them, but we are beholden to cowardly, outmoded, theocratic institutions that are fearful of egalitarianism.
Monday, April 21 2014
From our fear of the culture industry emerges a new sense of self—a negative self to be sure, created from the fear of being hypnotized by one’s inferiors, yet a self less likely to get lost in the dark.
Wednesday, November 6 2013
It is to Orson Welles’ eternal credit that he is one of the few filmmakers — perhaps the only one — who actually got Kafka right.
Wednesday, August 27 2014
Surely even Dirty Harry needs a break from cinematic violence, some time off at Walden Pond. Though I doubt its tranquility would deter him from picking off the sparrows.
Monday, March 31 2014
What can it mean for Dario Argento, auteur extraordinaire, to forsake his unique melding of fearless style and fearless silliness and instead submit to Bram Stoker?
Thursday, March 13 2014
These are films of literal and figurative interiors, where domestic spaces stand in stark contrast to idealisms sabotaged by the pettiness of politics and mistrust.
Thursday, October 10 2013
The pacifism of The Animals Film renders it an anti-cult cult film, not merely a plea to cease animal cruelty, but a critique of the violent objectification cum commercialization of life itself.
Sunday, July 21 2013
The bad film cultist sacrifices his selfhood to the group; the sophisticated film cultist, wary of any residue of fascism, desires alternative groups but keeps them at arm’s length to preserve the integrity of his ego and the pristine beauty of his narcissism.
Thursday, February 20 2014
Family Matters is a sterling (and torturous) example of the allegedly “post-racial” America inaugurated by the bourgeois and only mildly Afrocentric triumphs of The Cosby Show.