KINO! 54

Table of Contents

FILM AND SOUND

Soundtracking the Picture, Matjaž Zorec

Sound Above Image: The Invisible Narrator in The Zone of Interest, Lara Šifrer

There Is Noise at the End of Reality. Sound, Fantasy and Subject in David Lynch’s Films, Robert Kuret

Silence in Stan Brakhage, Oskar Ban Brejc

REVOLT!

Archive Through Film and Filmic Archiving, Tina Krašovic

Six Documentaries on Palestine, Muanis Sinanović

And Life Goes On, Ana Šturm

The Point of Becoming Art, Vid Bešter

Images Without the Central Conflicts, Andrea Zabric

The Poetics and Metaphysics of Rebellion and the Art of Film, Darko Štrajn

The (Non-)Self-evidence in the Representation of Otherness, Anja Radaljac

Spark. The Programme of Short Films by Students from Zagreb at the AGRFT Festival, Lenart Sušnik

INTERVIEW

Israel and Palestine on Swedish television 1958–1989 or Why is cookie dough sometimes better than cookies. A conversation with Göran Hugo Olsson at the premiere of his new film at the Venice Film Festival, Petra Meterc

FILM AND TV STUDIES − PEER-REVIEWED

Disney’s Bambi as an Amplified Icon of Innocent Childhood, Alen Golež

PILLOW SHOTS

*, Matjaž Zorec

Gaza, Muanis Sinanović

Dear Jeanne Dielman, Teona Galgoțiu

into a tree, Ana Pepelnik

15.50 €

KINO! 54

In the thematic block on film and sound, the authors consider the inscription of the subject in sonic materiality (Tarkovsky), sound as a medium of the unheimlich and the soundscape beyond the soundtrack (Lynch), the investigation of how film materializes the horrors of genocide through sound (Glazer), and silence (Brakhage). With the interweaving of a variety of texts – from mini-notes to studies – we continue with the Revolt! section from the previous issue. We also look at humor in high-profile animated series, sketch out the characteristics of Mediterranean drama in di4erent periods, and the film and TV studies – peer-reviewed section – is taken up by Disney's Bambi. Pillow Shots (after Ozu) cross the texts and serve as a break.