Joanna Hogg's cinema is characterized by its formal precision and its unflinching take on upper-middle class privilege, especially in the context of the family. Her first two feature films—Unrelated (2007) and Archipelago (2010)—scrutinize the dynamics of unhappy families on vacation. Exhibition (2015) takes a long hard look at a couple, both of whom are artists, as they go about their everyday lives in their modernist London home. All of these films avail themselves of rigorous framing and frequent long-take cinematography in order to make cinematic space itself a vehicle of emotional and political analysis. Her most recent feature, The Souvenir (2019), converts elements of Hogg's own biography to tell the story of a young filmmaker who learns the hard way that filmmaking and romantic love are the most difficult enterprises.
Temporary Accommodation: Joanna Hogg's Cinema of Dispossession
John David Rhodes is the author of several books, including Spectacle of Property: The House in American Film (University of Minnesota Press, 2017) and Stupendous, Miserable City: Pasolini's Rome (University of Minnesota Press, 2007). He teaches at the University of Cambridge where he directs the Centre for Film and Screen.
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John David Rhodes; Temporary Accommodation: Joanna Hogg's Cinema of Dispossession. Film Quarterly 1 March 2020; 73 (3): 12–20. doi: https://doi.org/10.1525/fq.2020.73.3.12
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