New Books in Film

A glass slipper, a fairy godmother, a transformed pumpkin, lizard footmen and seamstress mice: these familiar images evoke a very particular story, one where hopes and dreams for a new life might come true. Adaptations of Cinderella branch out through history and across the world, from early illustrated books to modern children’s and young adult novels, and contemporary films. Cinderella: A Cultural History (Bodleian Library Publishing, 2026) by Dr. Michelle Anya Anjirbag aims to answer the question, why does Cinderella still inspire so many of us with her story?
Beginning with the literary versions of the tale that were popularized by collectors and writers such as Basile, Perrault and the Brothers Grimm, this book looks back at the folktales that informed them, out to the various countries and cultures that share similar stories, and then forwards to what writers, illustrators, filmmakers and other storytellers continue to do with the Cinderella narrative. Instead of taking a strictly historical approach, it explores the ways heroes, villains, helpers and symbols appear in different interpretations, illustrations and adaptations. It draws connections between the historical and contemporary preoccupations, concerns and hopes that the Cinderella story still addresses in the 21st century, and celebrates our enduring desire for enchantment and transformation.
This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda’s interviews on New Books with Miranda Melcher, wherever you get your podcasts.

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If you’re interested in experimental film, there’s a good chance that you’ve read the criticism of Erika Balsom. There’s also a good chance that you’re a fan of her work, since it offers an uncommonly sensitive and insightful account of how contemporary filmmakers are reimagining the world at a moment of crisis and opportunity.
A scholar, writer, and curator, Erika is Reader in Film and Media Studies at King's College London and the author of five books, including TEN SKIES (2021) and After Uniqueness: A History of Film and Video Art in Circulation (2017). Her remarkable body of criticism has been published in venues such as Cinema Scope, New Left Review, 4Columns, and Artforum.
A selection of this criticism has just been published by Columbia University Press as The Edges of Cinema: Essays on Twenty-First Century Film Culture (2026). The book is a rich feast, exploring an idiosyncratic selection of films and a wide range of issues in contemporary film cultures: from the stakes of observation to the effects of digital technologies, from the slowness of “slow cinema” to the renaissance of repertory cinema, and much more beside.
In this episode of New Books in Film, Alix Beeston chats with Erika about The Edges of Cinema's case for the provocations and pleasures of experimental film, as well as the aims and ethos of Erika’s wider critical project. Alix and Erika also discuss their shared fascination with questions of feminist history and their investment in practicing—and championing—inventive, daring writing both in and beyond the academy.
Alix Beeston is Reader in Literature and Visual Culture at Cardiff University. She's the author of In and Out of Sight: Modernist Writing and the Photographic Unseen (Oxford UP, 2018) and the co-editor of the award-winning volume Incomplete: The Feminist Possibilities of the Unfinished Film (University of California Press, 2023).

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You Can See Everything is the new documentary about Elizabeth Holmes, the founder of biotech startup Theranos, who was convicted of fraud and is currently serving a federal prison sentence. Or is it a work of performance art starring Nathan Fielder, the comedian behind Nathan for You, The Rehearsal, and The Curse? It's about truth, psychology, shame, simulacra, Silicon Valley, and a million other things besides. And we're going to get into it all.

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Orson Welles is a foundational work of Welles criticism. First published by Joseph McBride in the British Film Institute's Cinema One series in 1972 when the author was twenty-four, it now has been extensively revised and updated to reflect the ongoing developments in the work of this great filmmaker. McBride—who, as Martin Scorsese has written, "has a clearer understanding of Welles and his films than almost anyone"—studied Welles at work for more than five years while playing an earnest young film critic and historian in The Other Side of the Wind. Among the new material in this third edition, Orson Welles: Revised and Expanded is McBride's first extended analysis of that film as well as an essay on Welles's acting career and revisions of the other chapters on his adventurous, multifaceted body of work, illuminating and setting the record straight on this often misunderstood director.
Joseph McBride has written or edited twenty-six books, also including two other books on Welles; biographies of Frank Capra, Steven Spielberg, and John Ford; the interview book Hawks on Hawks; critical studies of Ford (with Michael Wilmington), Ernst Lubitsch, Billy Wilder, the Coen Bros., and George Cukor; and I Loved Movies, But... In 2026, Sticking Place Books reprinted his long-lost edited collection Persistence of Vision, with an extensive new introduction. McBride covered the film industry for many years as a reporter and reviewer for Daily Variety. He is an emeritus professor of the School of Cinema at San Francisco State University
Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter.

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If Dog Day Afternoon is Network Jr., then Nicholas Ray’s 1956 Bigger Than Life is The Shining’s little brother. Ed Avery (James Mason), like Jack Torrence, unlocks a part of him that he finds liberating and intoxicating but which his family finds terrifying. There are many similarities, yet there’s an important difference: the ghosts in The Shining bring out something in Jack that was always there, but the cortisone in Bigger Than Life seems to cause Ed to become a sinister version of himself. Does evil lurk within us, ready to escape, or do we invite it into our lives?
Bumper music by John Deley.
Fans of James Mason will want to read Madeline King Porter’s new biography, James Mason: The Movie Star Hollywood Forgot.
Please subscribe to the show and consider leaving us a rating or review. You can find over three hundred episodes wherever you get your podcasts. Follow the show on Letterboxd and email us any time at fifteenminutefilm@gmail.com with requests and recommendations. Check out Dan Moran’s substack, Pages and Frames, where he writes about books and movies, as well as his many film-related author interviews on The New Books Network. Mike Takla is on substack at The Grumbler’s Almanac.

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