Supplements for Issue 66 "The Long Form."

Here is a list of notes and supplements for pieces published in this issue, in the order content was published in the journal.


Detailed notes and critique of individual works can be found here.


  1. Dargas, Manohla, “Tumbleweeds, Sagebrush and Kielbasa on the Range,” The New York Times, October 17, 2007.
  2. Majmurek, Jakub and Ronduda, Lukasz (editors), Cinema Art, A Cinematographical Turn in Polish Modern Art [Krytyka Polityczna, MSN, Warsaw 2015].
  3. Werner, Mateusz, “A Rebellion a la Polonaise,” in Polish New Wave: The History of a Phenomenon that Never Existed, Łukasz Ronduda and Barbara Piwowarska (editors), [CSW Warszawa 2008, p. 8]
  4. Kałużyński, Zygmunt, “Nowa Fala w Polskim Filmie?” Kino 1966, v. 4, pp. 1-5.
  5. Smith, Roberta, “11 Galleries to Visit Now on the Upper East Side and in Harlem,” The New York Times, April 27th, 2017.
  6. Ruszczak, Joanna, “Sasnal i Sasnal: Każdy może być kanalią,” Nwesweek Polska, February 7th, 2012.
  7. Wojciech Marczewski in conversation, January 2017.
  1. Coleen Fitzgibbon, “Ben Rivers” in Bomb: Artists in Conversation (2013)
  2. Ibid.
  3. Paul Arthur, “No Longer Absolute: Portraiture in American Avant-Garde and Documentary Films of the Sixties” in Rites of Realism: Essays on Corporeal Cinema, ed. Ivone Margulies (Durham, NC: Duke University Press, 2002), p. 114.
  4. Patrick Tarrant, “Montage in the Portrait Film: Where Does the Hidden Time Lie?” Alphaville: Journal of Film and Screen Media 5 (Summer 2013).
  5. The essay in question ‘‘Near Documentary as Post-Bressonian Aesthetic: Cinematographic Excursions and the Dialogue between Jeff’s Wall’s Adrian Walker (1992) and Ben Rivers’s Two Years at Sea (2011)” in Comparative Becomings, eds. Michael G. Kelly and Daragh O’Connell (New York: Peter Lang, 2015).
  6. I make reference here to Stella Bruzzi’s New Documentary: A Critical Introduction (2000) and its bold claim that all documentary has a performative dimension.
  7. Violet Lucca, 2014. ‘ND/NF Interview: Ben Rivers and Ben Russell’ in: Film Comment
  8. Michael Sicinski, “The Unbroken Path: Ben Russell’s Let Each One Go Where He May,” Cinema Scope: Expanding the Frame on International Cinema.’s-let-each-one-go-where-he-may.
  9. Robert Bresson, Notes on Cinematography, trans. Jonathan Griffin (New York: Quartet Books, 1996), p. 43.
  10. Ibid.
  11. I recently explored this area in a catalogue essay for the Irish artist Martin Healy, whose practice can be said to mine a similar terrain regarding subjectivity as Rivers and Russell. Dara Waldron, “Earth, Speak to Me …”
  12. Sicinski, “The Unbroken Path.”
  13. Fabio Gironi, Between Naturalism and Rationalism: A Realist Landscape (London: Equinox, 2012).