The Useful Lie: Belief, Space, and Judgment in Quentin Tarantino’s The Hateful Eight
Belief, Space, and Judgment in Quentin Tarantino’s The Hateful EightA room. Eight strangers. A storm that closes every exit. Everyone has a story, everyone
The Width Of The Arc: A Philosophical Reading of Pit and the Pendulum (1961)
Before the film has a landscape it has a temperament. The credits arrive as liquid: pigment blooming and folding into itself, blue devouring red,
The Sound Beneath the Floor: On Roger Corman’s House of Usher (1960)
A rider crosses ground that no longer produces anything. The trees stand, but they stand the way scaffolding stands after the building has been
Presence Without Proof: The Exhausted Archive in “Replay” (The Twilight Zone, 2019)
The first miracle in “Replay” is spent on a shirt. A mother and her son sit in a roadside diner on the way to
Cargo of Foreknowledge: Narration, Credibility, and the Self-Consuming Remake in “Nightmare at 30,000 Feet”
Richard Matheson’s “Nightmare at 20,000 Feet” first appeared in the anthology Alone by Night in 1961 and reached television two years later, on 11
Applause for an Empty Stage: The Audience as Supernatural Agent in “The Comedian” (The Twilight Zone, 2019)
“The Comedian” was released on 1 April 2019 on CBS All Access as the opening instalment of the Twilight Zone revival developed by Simon
Room in the Cell: Credence, Hospitality, and the Un-Facing of the Guest in “A Traveler” (The Twilight Zone, 2019)
The fourth episode of the 2019 Twilight Zone, developed for CBS All Access by Simon Kinberg, Jordan Peele, and Marco Ramirez, was written by
Furniture for the Dead: Manner, Act, and the Concealed Cut in Hitchcock’s Rope
Rope was the first production of Transatlantic Pictures, the company Alfred Hitchcock formed with Sidney Bernstein, and the first film he shot in Technicolor.
The Dead Hand: Property, Physiognomy, and the Manufacture of the Face in The Twilight Zone’s “The Masks”
Rod Serling’s “The Masks” arrived in the spring of 1964, during the closing weeks of The Twilight Zone‘s fifth and final season, when the
The Obedient Dead: Command, Acknowledgment, and the Missing Reverse Shot in Night Call
Broadcast in the winter of 1964, during the fifth and final season of The Twilight Zone, “Night Call” belongs to a production context defined
The Account Falls Due: Breakdown, Aspect, and the Exhaustion of Sacrifice in The Monsters Are Due on Maple Street
Rod Serling’s teleplay for the twenty-second episode of The Twilight Zone’s first season, broadcast in 1960, has acquired a settled place in the critical
Waiting One’s Turn to Be Human: Administered Personhood in Rod Serling’s The After Hours
Among the episodes Rod Serling wrote for the first season of his anthology series, The After Hours has acquired a reputation as a compact
The Credibility Machine: Testimony, Non-Place, and the Bureaucratic Doppelgänger in Rod Serling’s “Mirror Image”
Among the episodes of the first season of The Twilight Zone, broadcast on CBS in the 1959–1960 television year, “Mirror Image” occupies an unusual
The Projected Self: Image, Time, and the Refusal of Finitude in Rod Serling’s “The Sixteen-Millimeter Shrine”
This essay reads Rod Serling’s “The Sixteen-Millimeter Shrine” not as a morality tale about a vain actress but as a sustained meditation on the
The Road Without a Terminus: Death, Deferral, and the Collapse of Interiority in “The Hitch-Hiker”
Among the earliest broadcasts of Rod Serling’s anthology series, the episode adapted from Lucille Fletcher’s radio drama and transmitted in the first season occupies
The Confidant and the Crowd: Charisma, Complicity, and the Aestheticization of Politics in Joe Wright’s Mussolini: Son of the Century
Joe Wright’s eight-part series Mussolini: Son of the Century, adapted by Stefano Bises, Antonio Scurati, and Davide Serino from the first volume of Scurati’s
The Instant and the Eternal: Time, Death, and the Architecture of Illusion in An Occurrence at Owl Creek Bridge
Ambrose Bierce’s 1890 short story furnished the narrative skeleton, but the work that has most durably shaped the cultural memory of An Occurrence at
