Daryl Meador explores how the cinematography, soundscape, and generic context of Texas in The Last Picture Show not only evoke alienation but articulate it to settler colonialism.
In this issue’s Global Public Art column, Caitlin Bruce discusses her Hemispheric Conversations Urban Art Project, which connects post-industrial cities across the US/Mexico border and offers new ways of producing and engaging graffiti and mural-making.
Anushka Robinson explores Aki Kaurismäki’s take on migration, Fortress Europe, northern France, and community ties through theories of childhood and affiliation.
David Chan brings several theories of the archive to bear on the recent documentary Shirkers, asking how the film’s openness as a text and mission of collecting a lost film relate to the specificities of place and embodied difference that gave rise to the project.
Cedric Bobro traces the linguistics roots of surveillance and the fantasy of the omnipotent view through ghosts and AI to the modern surveillance apparatus.
Mathilde Fauteux explores the political spaces of Janelle Monáe’s work, concentrating on both the diegetic spaces that make up her recent projects and the transmedia spaces those projects occupy and create.
Jean Renoir’s vision of space has continued to sustain theorization since André Bazin’s major critical reappraisal of the quintessential French auteur in Cahiers du…
Alexander Davis interviews Joshua Glick about his new book, which rethinks Los Angeles as a center of documentary production
Working in archives requires an archival sensibility. Jennifer Wild talks with Matt Hauske about her experience working in archives, and on the importance of understanding the archive as a space for generating on-the-ground historical perception.