Raoul Dyssell - Film Editor's Page

“In fact we know that in certain emotional conditions, the presence of an obstacle accentuates the tendency towards motion”

Franz Fanon, ‘Concerning Violence’



This essay will be divided into two sections. The first section will dissect and analyse, compare and contrast, and thoroughly critique the theoretical work of Solanas and Getino and Teshome Gabriel on Third Cinema in relation to other notable authors and then try to develop a modern-day definition for the term. The second… Continue

“In short, the uniqueness of the Italian works, vis-à-vis other relevant cinemas, lies in their stylistic organisation of elements of apparent rawness, their emotional intensity and their focus on current political and social problems.” [P. Adams Sitney]

This essay will attempt to dissect the above statement in all its parts by discussing the key elements within the wave of Italian neorealist filmmaking with reference to Vitorrio De Sica’s Ladri Di Biciclette [Bicycle Thieves].


… Continue

Hollywood cinema is bound by strict rules limiting individual innovation. Termed Classical Cinema, it is the world’s mainstream film style and its principles rely on “notions of decorum, proportion, formal harmony, respect for tradition, mimesis, self-effacing craftsmanship and cool control of the perceiver’s response.” (Bordwell, Staiger and Thompson 1985: 3-4) Using a narrative that has not changed much since the 1920s, the object of the mainstream film is to stimulate and sustain the interest… Continue

“To die would be an awfully big adventure” (Barrie, 1911: 107). Indeed, death and what happens after is a mystery that intrigues many, irreligious, spiritual or evangelical. The space between death and the afterlife plays a deep role in one’s understanding of fantasy. This essay will attempt to tackle this conundrum by analyzing and comparing two films, Jim Jarmusch’s Dead Man (1995) and Marc Forster’s Finding Neverland (2004), and by referencing texts by notable authors on the fantastic.… Continue