Green Journals

A queer reading of Alexis Bisticas’s To Harama ( The Dawn ) (1994): from diva citizenship to #MeToo

Konstantinos Argyriou

2026-9-2 Pages 1-17

DOI: 10.1080/17411548.2026.2724709

The new monstrous-feminine and teen body horror: queer crip witches in Blue My Mind and Thelma

Cristina Ruiz-Poveda Vera, Joy C. Schaefer

2026-9-2 Pages 1-19

DOI: 10.1080/17411548.2026.2724724

An epic fail?

Owen Evans

2026-9-2 Vol. 23 Issue 3 Pages 239-241

DOI: 10.1080/17411548.2026.2722847

City as a cinematic production space and the auteur urbanite

Canan G. Inan Konukoglu

2026-9-1 Pages 1-22

DOI: 10.1080/17411548.2026.2724714

Eco-Queer Imaginaries in God’s Own Country, Portrait of a Lady on Fire , and Call Me by Your Name

Suraj Das

2026-9-1 Pages 1-14

DOI: 10.1080/17411548.2026.2724718

Tears as cinematic elements for loss and death in Bergman’s and Kieslowski’s films (1985–1997)

May El Koussa

2026-8-28 Pages 1-15

DOI: 10.1080/17411548.2026.2724717

Jouissance and its discontents in Martin McDonagh’s The Banshees of Inisherin

Farzad Kolahjooei

2026-8-27 Pages 1-10

DOI: 10.1080/17411548.2026.2724723

Ali Kemal Çınar’s Situated Cinema. Self-reflexivity and Decoloniality

Derya Ozkan

2026-8-26 Pages 1-19

DOI: 10.1080/17411548.2026.2722583

Mountains and the (Un)natural woman: performance and physiognomy in Die Bergkatze (1921) and Das blaue Licht (1932)

Eloise Richardson

2026-8-25 Pages 1-26

DOI: 10.1080/17411548.2026.2722575

Cinematic legacy: the role of Albanian communist films on post-communist generations’ perceptions of the regime

Enxhi Begvarfaj, Jubjana Vila

2026-5-6 Pages 1-21

DOI: 10.1080/17411548.2026.2663614

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Recent Articles

A queer reading of Alexis Bisticas’s <i>To Harama</i> ( <i>The Dawn</i> ) (1994): from diva citizenship to #MeToo

The new monstrous-feminine and teen body horror: queer crip witches in <i>Blue My Mind</i> and <i>Thelma</i>

An epic fail?

City as a cinematic production space and the auteur urbanite

Eco-Queer Imaginaries in <i>God’s Own Country, Portrait of a Lady on Fire</i> , and <i>Call Me by Your Name</i>

Tears as cinematic elements for loss and death in Bergman’s and Kieslowski’s films (1985–1997)

Jouissance and its discontents in Martin McDonagh’s <i>The Banshees of Inisherin</i>

Ali Kemal Çınar’s Situated Cinema. Self-reflexivity and Decoloniality

Mountains and the (Un)natural woman: performance and physiognomy in <i>Die Bergkatze</i> (1921) and <i>Das blaue Licht</i> (1932)

Cinematic legacy: the role of Albanian communist films on post-communist generations’ perceptions of the regime