Mark Ryall

IRISH ASSIMILATION AND THE QUIET INFLUENCE OF MICHALEEN OGE FLYNN On the surface, it would appear that Barry Fitzgerald’s portrayal of …

WHATEVER HAPPENED TO MY NARRATIVE RESOLUTION?MICHELANGELO ANTONIONI, L’AVVENTURA, AND THE LEGACY OF ITALIAN NEOREALISM by Mark Ryall When Terence Malick’s The …

PAINTING WITH LIGHT THE UNEASY ALLIANCE OF ART, POLITICS AND ECONOMICS IN EARLY SOVIET AND WEIMAR CINEMA by Mark Ryall It …

HATERS GONNA HATE IN DEFENCE OF INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL Crystal Skull is Spielberg’s unloved, deformed …

2D OR NOT 2D?THAT IS THE QUESTION Not now James, we’re busy The format halves the cinema’s capacity for exhibition of …

TRAUMA, REPETITION AND BLANK CHARACTERISATION IN WES WORLD Throughout a career spanning almost two decades, Wes Anderson has cultivated a reputation …

“SO WE BOTH HAVE DEAD PEOPLE IN OUR FAMILIES“: DEAD PARENTS AND PROCESSING GRIEF When we are presented with any form …

“OF COURSE IT’S DARK, IT’S A SUICIDE NOTE“: PATHOS, PATERNAL NEGLECT AND PERFORMANCES OF MASCULINITY As Wes Anderson moves into the …

“I ALWAYS WISHED I WAS AN ORPHAN. I THINK YOUR LIVES ARE MORE SPECIAL“: TRAUMA, TIME AND TONE The devoted follower …

The fundamental basis of negative criticism directed at Wes Anderson can be summed up in the maxim, “familiarity breeds contempt.” Or …