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Existentialism in Film
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The Existential Philosophy of Melancholia
The Philosophy of Camus in The Dead Don't Die
The Existentialist Subtext of Dear Evan Hansen
An Existentialist Reading of "The Turin Horse"
A Woman's Perspective: Gender, and Identity in the Romanian New Wave
Film Theory Issue 1
Film Theory Issue 2
Science Fiction
Science Fiction Issue 2
Pan's Labyrinth
Kathryn Bigelow
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The War Film Genre: Assessing Human Nature
The Gangster Film Genre: A Critical Perspective on the American Dream
The Boxing Film Genre: Mysteriously Romanticizing the Ring
The Christian Film Genre: A Dangerous and Pretentious Label
Dare to Live: A Review on Dallas Buyers Club
The Zombie Film: Resurrecting a Formerly Obsolete Genre
The Musical Film Genre: Capturing the Magic of the Stage on the Screen
Defining the “Cult Classic”
The Science Fiction Genre: Film’s Fascination with Speculation
If I Had Wings: A Review on Inside Llewyn Davis
The Documentary Genre: Recording Reality
The Comedy Genre: Film’s First Cinematic Movement
The Superhero Film: A Credible Genre?
The Western Genre: Dead or Evolved?
More is Never Enough: A Review on The Wolf of Wall Street
A Formula for Love: The Romantic Comedy Genre
The Found Footage Genre: An Inexpensive Tool for Horror
4D Theaters: Thinking Outside D-Box
Don't Let Go: A Film Review of GRAVITY
Filmmaking at Your Hands: Musings on the Use of Mobile Devices in the Film Industry
I Want to Live: A Review on 12 Years a Slave
3D Filmmaking: A Ploy to Make More Money or an Exciting New Frontier?