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Features | Thursday, 02 February 2012 Written by Cleaver Patterson
Screengem: Freddy's Glove in A Nightmare On Elm Street (Wes Craven, 1984)
Gloves are an intensely intimate item of clothing, used to protect one of the most expressive and personal body parts - from cold, from hurt and from unwanted attention. A Nightmare On Elm Street - the seminal 1980's horror film from schlockmeister Wes Craven which changed the teenager-in-peril franchise forever - transmogrified the glove into an object of terror in the form of the blade fingered gauntlet used by the pizza featured bogeyman Freddy Krueger.
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Read more: Screengem: Freddy's Glove in A Nightmare On Elm Street (Wes Craven, 1984)
Features | Sunday, 29 January 2012 Written by Marco Bohr
On Location: Fremont Street as featured in 'Koyaanisqatsi' (Dir. Godfrey Reggio, 1982)
As we prepare for the publication of World Film Locations: Las Vegas next month – the latest in our series of books exploring the relationship between the city and cinema– Marco Bohr examines one of the many evocative moments in Godfrey Reggio's masterly medidation of life, Koyaanisqatsi.
Read more: On Location: Fremont Street as featured in 'Koyaanisqatsi' (Dir. Godfrey Reggio, 1982)
Features | Friday, 20 January 2012 Written by Isis Sadek
On Location: The Bradbury Building as featured in 'The Artist' (Dir. Michel Hazanavicius, 2011)
A star in its own right, Los Angeles' Bradbury building has featured in films as diverse as Double Indemnity, Blade Runner and (500) Days of Summer. Illuminated by a large central skylight and lined with ornate wrought-iron railings, the courtyard of the Bradbury stages a transition between interior and exterior. In Michel Hazanavicius' recent (silent) movie The Artist, the Bradbury becomes the site of multiple transitions.
Features | Saturday, 07 January 2012 Written by Scott Jordan Harris
Screengem: The Letters of Transit in Casablanca (Michael Curtiz, 1942)
Anything Peter Lorre and Humphrey Bogart have to hide from the Nazis, and Sydney Greenstreet and Ingrid Bergman would give their eyes to own, is certain to be an important onscreen object - but Casablanca's letters of transit exceed any normal measure of cinematic significance. They are perhaps the most evocative items in film.
Read more: Screengem: The Letters of Transit in Casablanca (Michael Curtiz, 1942)
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