I: CONTRIBUTORS & ACKNOWLEDGEMENTS
YVETTE BIRÓ is an essayist, screenwriter, and professor emerita at New York University’s Graduate Film School. She worked on a dozen prize-winning films with noted directors in her native Hungary. More recently she wrote scripts for international productions: The Stoneraft, from Saramago’s novel, Johanna and Delta, both invited to Cannes. She has published numerous essays as well as ten books on film, including The Metamorphosis of the Image, The Seventh Art, and Profane Mythology (Indiana University Press, 1982).
ROBERT DAVIS is the chief film critic for Paste Magazine and has been blogging intermittently about film since 2003, first at Errata and more recently at Daily Plastic.
MATTHEW FLANAGAN is currently working on a thesis on temporality, contemplation and the long take in contemporary cinema. He has previously written for the British Film Institute, and 16:9.
EDWARD HOWARD is a critic of music and film who has written for Bagatellen, Grooves Magazine and Stylus Magazine. He currently writes about film at his blog Only the Cinema, and engages in an ongoing series of cinematic conversations with the blogger Jason Bellamy, published at The House Next Door.
IAN JOHNSTON is a New Zealander living in Taipei, Taiwan. He is a frequent contributor to Bright Lights Film Journal and Not Coming To A Theater Near You.
ANDRÁS BÁLINT KOVÁCS is the head of the Film Department at ELTE University, Budapest, Hungary. He teaches film history of modern cinema and film analysis. Publications include: Screening Modernism (2008 Limina Award) University of Chicago Press, 2008. The World According to Cinema. Essays. Budapest, Palatinus. (Arnold Hauser award, 2003) The Film History of Thought. In: Gregory Flaxman (ed.) The Brain is the Screen. University of Minnesota Press, 2000. Entries for BFI/Cassell Encyclopedia of European Cinema.” BFI, London, 1995. Les Mondes d’Andrej Tarkovsky. (Together with Ákos Szilágyi) L’Age d’Homme, Lausanne (Switzerland) 1987. Metropolis, Paris. The Abstract Subjective Style in Film. Képzõmûvészeti Kiadó, Budapest, 1992. He translated Deleuze’s Cinéma 1-2 into Hungarian.
EDWIN MAK is a London based writer and researcher on global cinema, contemporary and traditional Chinese art, and aesthetics. His research blog is Nothing to be done. Previously his writing has appeared in Offscreen, The Auteurs’ Notebook, and Electric Sheep Magazine. He is a co-founder and editor of Unspoken journal.
PACZE MOJ writes about film at Critical Culture and The Auteurs.
HARRYTUTTLE is a French cinephile, non-professional film blogger, author of Screenville, and founder of the Unspoken Cinema blog. He has contributed to The Auteurs’ Notebook, and Rouge. He is a co-founder and editor of Unspoken journal.
UNSPOKEN would like to thank Gwen Jones at the Hungarian Film Institute for her translations of Kovács’ articles. And also Indiana University Press for allowing us to republish the excerpt from Turbulence and Flow.