How a photographer’s images of Jews were liberated from the lachrymose history he imposed upon them.
Why does Errol Morris cling to a model of documentary photography eighty years out of date?
Robert Gottlieb's vigorous biography of Sarah Bernhardt shows the actress in all her workaholic, passionate and unsentimental force.
Miroslav Tichy's haphazard, eccentric photographs are disciplined, even rigorous--and indifferent to the claims of their female subjects.
The first decade of filmmaking belonged to one woman alone: Alice Guy Blaché.
Helen Levitt's idiosyncratic photographs.
How did Milan Kundera's antipathy toward the media become as curdled as the Czechs' allergy to his success?