CINEA belicht het cinematografisch erfgoed in al zijn boeiende facetten en al zijn reïncarnaties van eind negentiende eeuw tot vandaag, steeds vanuit een filmhistorisch en esthetisch standpunt: filmmakers hebben duizenden geheimen, CINEA leert je ze kennen!
photogénie
Photogénie combineert een gevoel van verwondering met scherpe analyses.
Photogénie Manifesto
Digital Notes on the Corporeal Manifesto
"Addicted to the pen, images of the camera pen are returned to words in an attempt to explain what was witnessed."
Photogénie Essay
And Then We Danced: Dance, Identity and Self-acceptance
Ioanna Micha on dance as a road to acceptance in Levan Akin’s 'And Then We Danced' (2019).
Photogénie Essay
Punk Burns Out: Spanish Cinema Retrospective at Film Fest Gent 2019
Ben Flanagan on post-Franco Spanish cinema, from 1970s onwards when a transgressive strain had obtained a firm foothold.
Photogénie Manifesto
“Looking For?”; A Cinema of Desire — (Autobiography of) A Manifesto
Q: Can you write a manifesto about cinema?
A: (me, heartbroken, horny, lost) I'll see what I can do.
Photogénie Essay
To Live and Die in the City: Urban Arenas in the American Crime Thriller since 1970
David Vanden Bossche on the evolution of the 'Urban Crime Thriller' in the 1970s and 1980s.
Photogénie Review
Martin Eden (II) — Young Critics Workshop
Ioanna Micha on Pietro Marcello's 'Martin Eden'.
Anatomie van de film
Anatomie van de film ontleedt de filmkunst in haar historische context.
Anatomie van de film
The Wizard of Oz (1939)
Anke Brouwers over 'The Wizard of Oz' (1939).
Anatomie van de film
La Piscine (1969)
Anke Brouwers over Jacques Deray's 'La Piscine'.
Anatomie van de film
Ohayô (1959)
Tim Deschaumes over Yasujirō Ozu's 'Ohayô'.
Anatomie van de film
Jour de fête (1949)
Wouter Hessels over Jacques Tati's 'Jour de fête' (1949).