The genre we expect to be scared of is horror. So, why do we fear the foreign-language film? Is it down to its definition; the ‘foreign’ that is synonymous to ‘alien’? I argue the fear of the subtitled film is the fear of the unknown – or not the unknown, but what we do not Read More…
Oscar Jelley explores the cinematic portrayal of the desert as a symbol of ambivalent promise and looming desolation.
Lesbian representation in films, in particular mainstream films, is difficult to find. The industry often shies away from a plot that focuses itself around the love between two women, perhaps out of a belief that it will not attract enough viewers, or perhaps because it is often over-sexualised and therefore reduces the scope of such Read More…
If you were to sit down and watch all of Netflix’s content, it would take you around 36,000 hours. That’s just over four years. So the length of a Classics degree (if you were after an Oxford-equivalent statistic ). It’s something I’ve given a fair amount of thought to lately since we’ve been in lockdown for around Read More…
This week in Take That! Jiaqi talks justice, Ryan Gosling and race in Nicolas Winding Refn’s Only God Forgives
Oxford Blue Film and TV columnist Jiaqi Kang in discussion this week on Hayao Miyazaki’s 2013 film The Wind Rises.
Oxford Blue Film and TV columnist Jiaqi Kang in discussion this week on Pawel Pawlikowski’s Cold War and how love stories are often about far more than just love.
It’s late. Past midnight. I’ve just gotten back from a screening of the film Parasite. I have an essay due yesterday that I haven’t finished the reading for. I need to sleep. But fuck. I cannot calm my racing mind down until I write this out. Where did this even come from?! I mean, I Read More…
Oxford Blue Film and TV columnist Jiaqi Kang in discussion this week on Darren Aronofsky’s mother!
Oxford Blue Film and TV columnist Jiaqi Kang’s in discussion this week on So Long, My Son’s deft yet drawn out depiction of grief and loss