Kenneth Anger
Features // 2 Articles
Reviews // 2 Articles
Blogs // 2 Articles
Media // 1 Articles

The 100 Essential Directors Part 1: Chantal Akerman - Bernardo Bertolucci
1 Aug 2011 // 4:00 PM

Neurotic New Yorkers, Queer Mavericks, Swedish close-ups and the art of putting a microphone on every person on set are but a few of the themes explored in PopMatters' first group of ten essential directors, Chantal Akerman through Bernardo Bertolucci. Please note that any perceived omissions were likely on purpose...

Part 2: The Changing Face of Filmmaking
18 Jun 2007 // 5:00 PM

Every staid situation needs shaking up, none more so that the labored Hollywood studio system. The titles chosen for this section stand out as reasons why things had to change, the results of those seismic stylistic shifts.


Looking Back at Anger, or, We Always Have Paris
1 Nov 2007 // 4:59 PM

Anger's films are suffused with the stuff of the Romantic Id: dream-logic, transgressive eroticism and taboo subjects, attention to color and music, literary references, religous and mythical elements, experimental editing and superimpositions.

The Films of Kenneth Anger, Vol. 1 (1947)
4 Mar 2007 // 2:00 PM

Anger can be seen not only as the godfather of queer cinema, but also of indie cinema: his budgets were virtually non-existent, and the production values might have been low; but the finished products were always regarded as works of art.


100 Essential Directors - Kenneth Anger
3 Aug 2011 // 4:00 AM

100 Essential Directors celebrates directors of distinct vision, who have honed their respective crafts, who have brought something new and exciting to the medium, and who continue to push the boundaries of the form.

And the Oscar Goes to...Roger Corman???
13 Sep 2009 // 7:30 PM

That audible gasp you heard last week was film geek society struggling to come to grips with what they just heard. After years of being

//Mixed media

Because Blood Is Drama: Considering Carnage in Video Games and Other Media

// Moving Pixels

"It's easy to dismiss blood and violence as salacious without considering why it is there, what its context is, and what it might communicate.

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