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Andrew Grossman

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.


Features

Sunday, July 13 2014

Magnus Hirschfeld and the Struggle for Transformation, Not Tolerance

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

The Little Joys (Not Pleasures) of Scopophobia: On Mystery Science Theater 3000, Vol. XXIX

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

Orson Welles' 'The Trial' Is a Study in Transcendental Sociology

It is to Orson Welles’ eternal credit that he is one of the few filmmakers — perhaps the only one — who actually got Kafka right.


Columns

Monday, March 31 2014

The Virtues of Faithlessness: Dario Argento's Dracula 3-D and the Crutch of Tradition

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

Between Civility and Civilization: The Late Films of Satyajit Ray

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

Against Cult Cinema: Documentarian Didacticism and 'The Animals Film'

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

Between the Omnivore and the Hermit: Reducing Religion to a Cult of One

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.


Reviews

Thursday, February 20 2014

The Sitcom As Ideological Torture

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.


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