▶Film & Moving Image

An editor's rule of six for where to cut, with emotion ranked far above continuity in importance.

A global history organised by innovation rather than by Hollywood, which puts Japanese, Iranian and African cinema in the main narrative.

Fun is the feeling of a brain absorbing a pattern; a game stops being fun exactly when there is nothing left to learn.

How television became a writer's medium capable of the novel's scope, and what the showrunner model cost the people inside it.

Film-by-film analysis by the critic who introduced Japanese cinema to the West, and who knew the director for decades.

Sorts documentary into modes with different truth claims, which makes clear that 'non-fiction' is a spectrum of arguments, not a guarantee.

Structure as the substance of screenwriting: value-charged turns at every scene, built on the gap between expectation and result.

Sets out the twelve principles of animation from inside the studio that derived them — still the basis of the craft, including in 3D.