Bibliographic Information

Books                                          Cinematic Reveries: Gestures, Stillness, Water (Peter Lang, 2013)


                                                      Ehrlich, ed. The Cinema of Víctor Erice: An Open Window,

Expanded paperback edition (January 2007).


                                                      An Open Window: The Cinema of Víctor Erice. Scarecrow Press Filmmaker’s Series #72 (August 2000) (Reviewed in Film Quarterly, Hispania, Revista de Estudios Hispánicos).



                                                      Ehrlich and Desser, ed. Cinematic Landscapes: Observations on the Visual Arts and Cinema of China and Japan. Austin: University of Texas Press, 1994 (with David Desser); 2nd ed. 2000, reprint 2008. (Reviewed in: Film Quarterly, Japan Times, Journal of Asian Studies.)


Good Films, Cheap Wine, Few Friends: A Memoir, by Juan Luis Buñuel (edited and with an introduction by L. Ehrlich, 2014)






Featured commentary on the Criterion DVD of The Spirit of the Beehive (El espíritu de la colmena, dir. Víctor Erice, 2007).


Essay on Alumbramiento (Lifeline, Erice, 2002) included in the 2011 DVD package of that film and La morte rouge (Erice, 2008)



Publications:Articles &Chapters  


¨The Films of Isaki Lacuesta: Hidden Portraits, Multiple Lives,¨ in (Re)viewing Creative, Critical and Commercial Practices in Contemporary Spanish Cinema” (Intellect Press, ed. Fernando Javier Canet and Duncan Wheeler, 2015): 433-439.


“Puppets Dancing, Dancing Puppets: Some interconnected thoughts,” Puppetry International 33 (Spring/Summer 2013): 33-35.


¨Ningyo:An homage to the films of Kawamoto Kihachiro,¨ Journal of Japanese and Korean Cinema 3:2 (2011): 117-137.


Gaudí” and “Craven vs. Craven” in World Film Locations: Barcelona (ed. Helio San Miguel and Lorenzo J. Torres Hortelano, U.K., Intellect Press, 2013): 78-79, 56-57.


“Las canciones de Erice—La naturaleza como música/la música como naturaleza” in Secuencias (31, online, 2010: 7-31). Expanded English versión, ¨Erice´s Songs: Nature as Music/Music as Nature¨ in Framework (51: 2, Fall 2010): 199-247.





      “Cine de lo real desde Barcelona: espacio, sonido, sugerencia” in          Escritura e Imagen, by Universidad Complutense, Madrid (with

Beatriz Comella, online)


“A tribute to Le rayon vert,” in Senses of Cinema special issue on Eric       Rohmer (online, April 2010)


Tren de sombras” and “El sol del membrillo” in Directory of World       Cinema: Spain (Intellect Press, 2012)


“Kore-eda’s Ocean View” in Film Criticism (special issue on Japanese film director Kore-eda Hirokazu), XXXV, no. 2-3 (Winter/Spring 2011): 127-146.


                                                      A Buñuel Scrapbook: The Last Script, Remembering Luis Buñuel and Calanda: 40 Years Later”” in Senses of Cinema (51, online, 2009)


                                                      (Firma Invitada) “Narrow Margins at Play [Estrechos márgines en juego],” in Cahiers du Cinema España : 19 (Jan. 2009, in Spanish): 69.


                                                      “Monumentality in Why Did Bodhidharma Leave for the East?,” in

Frances Gateward, ed. Seoul Searching: Culture and Identity in Contemporary Korean Cinema. Albany, NY: SUNY Press,

                                                      2007: 175188.


“Three Spanish Films: Landscape, Recollection, Voice: in Senses of Cinema (2008, online)


                                                      “Kore-eda Hirokazu y el gesto resonante” in the catalogue of 8 Festival

Internacional de Cine/Las Palmas de Gran Canaria” (2007): 917.


“Letters to the World: Erice-Kiarostami Correspondences” in Senses Of Cinema 41 (Oct.Dec. 2006, online,


Review, Dare mo shiranai (Nobody Knows), Film Quarterly 59:2 (Winter 2005–06), pp. 4550.


“Kore-eda Hirokazu: New Visions, New Choices,” Viennale Retrospective, 2004 (Vienna, Austria,): 208-212.


“Víctor Erice’s La Promesa de Shanghai and Alumbramiento: The Promise of Words, The Promise of Time,” in Cinema Scope, 23 (summer 2005, with Juan Egea: 21-23). (Reprinted in part in DVD of La morte rouge and Alumbramiento)


“Kore-eda Hirokazu: The Filmmaker as Listener,” Cinemaya 61–62 (2003–04): 38–45.


“Kagawa Kyoko: A Life in the Cinema,” Asian Cinema 15:1 (Spring/Summer 2004):116–142.


“Community and Connection: Itami Juzo’s Tampopo” in Japanese Film: Texts and Contexts. Ed. Alistair Phillips and Julian Stringer. Routledge, 2008: 163-172.


“Adapting Orpheus,” in Religion and World Cinema: Mythmaking, Culture Making. Ed. S. Brent Plate. Palgrave Press (2003): 67–88.


“Beyond Swords and Samurai: Another Look at the Films of Kurosawa,” Asian Cinema 13:1 (Spring/Summer 2002): 44–55.


“The Krishnaswamy Approach: A family of documentarists,” Asian Cinema 11:1 (1999), 9–15.


“Playing with Form: Ichikawa’s An Actor’s Revenge and the Creative Print,” Kon Ichikawa, ed. James Quandt (Toronto:Cinematheque Ontario/Indiana University Press, 2001), 273–286.


“Stillness in Motion: The Sleeping Man (Nemuru otoko) of Oguri Kōhei,” Journal of Film and Religion 3:1 (Spring 1999 [electronic journal]).


“Teaching Scent of Green Papaya in Saigon: Film in International Context,” Cinema Journal 39:4 (2000), 89–93.


“The Paintings of Migishi Setsuko: An Appreciation,” Japan Quarterly (April–June 1998): 32–42.


“The American Occupation Remembered: Cinematic Versions.” The Confusion Era: Art and Culture of Japan During the Allied Occupation, Asian Art and Culture (Smithsonian UP, 1997): 39–52.


“Courtyards of Shadow and Light.” Cinemaya 37 (Summer 1997): 8–16


“Dancing For the Fun of It: An Interview with Suo Masayuki.” Japan Quarterly (Jan.–March 1998): 22–25.


Shall We Dance?” Asian Cinema 9:2 (Spring 1998): 94–107.


                                                      “Pacific Cultures: Individual and Collectivity in National Cinemas.” in Pacific Society. Ed. Richard Maidmont. London: Open University, 1998 (w/Mary Farquhar).


“The Laughter of the Gods: Narrative Strategies in Woman in the Dunes.” in Word and Image in Japanese Cinema. Ed. Dennis Washburn and Carole Cavanaugh. Cambridge UP: 2001(with Antonio Santos): 89–107.


Behold a Pale Horse: Fred Zinnemann’s Spanish Civil War.” The Films of Fred Zinneman. Ed. Arthur Nolleti, Jr. New York: SUNY Press, 1999:139–156.


“A Change of Scene, A Change of Fortune: Cinematic Visions of the Sephardic Jew.” Shofar: An Interdisciplinary Journal of Jewish Studies: 15: 2 (Winter 1997): 1–20.


“The Extremes of Innocence: Kurosawa’s Dreams and Rhapsodies.” Hibakusha Cinema. Ed. Mick Broderick. Australian Film Commission. Kegan-Paul International Japanese Studies Series. London: Kegan-Paul, 1996: 160–77. (Japanese translation of book by Gendai Shokan Publishers, 1999: 145–158).


“Travel and Furusato in Ozu’s Tokyo Story.” Tokyo Story. Ed. David Desser. Cambridge: Cambridge Univ. Press,1997: 53–75.


“Retrospective Focuses on Japanese Director (Mizoguchi).” Cleveland Plain Dealer (19 January 1997): 10–11.


“Wandering Fool: Tora-san and the Comic Traveler Tradition.” Asian Cinema 8, no. 1 (1996): 3–27. Adapted for A Century of Popular Culture in Japan. Ed. Douglas Slaymaker (Mellen Press, 2000).


“Talking About Pictures: The Art of the Benshi.” Cinemaya 27 (Spring 1995): 34–40.


“Interior Gardens: Victor Erice’s Dream of Light and the bodegón tradition.” Cinema Journal 34 (February 1995): 22–36.


“Animation for Children: David Ehrlich and the Cleveland Museum of Art Workshop.” Art Education (February 1995): 23–36.


“The Circle of Heaven: Bae Yong-kyun’s Why Has Bodhidharma Left for the East?Film Quarterly 48 (1994): 27–31.


The Year of Living Dangerously: An East-West Dialectic.” New Orleans Review 19: 3 & 4 (1992): 118–24 (with David Dungan).


“Water Flowing Underground: The Films of Oguri Kohei.” Japan Forum 4 :2 (April 1992): 145–61; reprint in Japanese in Kangaeru no. 16 (January 1993).


“The Undesired Ones: Images of the Elderly in Japanese Cinema.” Cinemaya 14 (Spring 1992): 4–8.


“Meditations on Wim Wenders’ Wings of Desire.” Literature/FilmQuarterly 19: 4 (1991): 242–46.


“Kurosawa’s Fragile Heroes: Another Look at the Tateyaku.” Kurosawa:

                                                      Perceptions on Life/An Anthology of Essays. Ed. Kevin K.W. Chang (Honolulu: Univ. of Hawaii Press 1991): 34–45.


“Oshima Nagisa,” “Mizoguchi Kenji,” “Ichikawa Kon,” “Imamura Shohei,” and “Mifune Toshiro” Encyclopedia of Film. Ed. James Monaco. New York: Putnam,1991.


“Teaching Asian Cinema in the USA: A Juggler’s Art.” Cinemaya 11 (Spring 1991): 16–19.


“Thai Cinema: A Popular Feast.” Asian Cinema 5:2 (1990): 8–11.


“The Name of the Child: Cinema as Social Critique.” Film Criticism 14 :2 (Winter 1990): 12–23.


“College Course File: East Asian Cinema.” Journal of Film and Video 42: 2 (Summer 1990): 53–70 (with Ning Ma).


“The Artist’s Desire: Reflections on the Films of Mizoguchi Kenji.” East-West Film Journal 4 :2 (June 1990): 1–13.


“The Debut of a Film Director: Nakajima Takehiro.” East-West Film Journal 2 (1988): 129–34.


Publications: Reviews          Miyazaki Hayao by Raúl Fortes. Journal of Japanese and Korean Cinema (4:2, 2013): 200-202.


A Sense of Home (omnibus film reflecting on the March 11 earthquake), Journal of Japanese and Korean Cinema 4:2 (2012): 87-90.


ShadowLight Theatre DVD set, in Asian Cinema 22:1 (2011): 315-318.


Sansho the Bailiff (Criterion DVD); The Willow Tree (Iranian film) in Asian Cinema 19:2 (Fall/Winter 2008): 317-322.


The Clay Bird (dir. Tareque Masud, Bangladesh/France, 2002) in Asian Cinema, 18:1 (Spring/Summer 2007): 269–272.


                                                      The Cinema of Gosho Heinosuke: Laughter Through Tears by Arthur Nolletti, Asian Cinema 17:1 (Spring/Summer 2006): 256–258.


                                                      Ozu’s Anti-Cinema by Yoshida Kiju, Journal of Asian Studies 63:3 (August 2004): 805–807.


Three documentaries on Moroccan-Jewish music by Izza Genini, Ethnomusicology 46:3 (October 2002): 549–552.


Sansho the Bailiff,” BFI Film Classics series, by Dudley Andrew, Film Quarterly 51:3 (2002): 70–71.


                                                      Kurosawa: Film Studies and Japanese Cinema, Journal of Asian Studies 60:3 (August 2001): 877–879.


The Silence” (Iranian film), Journal of Film and Religion 4:1 (2000, online, 3 pages)


Pizzicata” (Italian film), Visual Anthropology Review 15:1 (Spring/Summer 1999):102–103.


The Stars Who Created Kabuki,” Monumenta Nipponica 53: 4 (Winter 1998): 580–582.


Mandala,” The Tibet Review XXIV: 1 (1999), pp. 152–153.


The Eel,” Cleveland Free Times (21 April, 1999): 64; “AfterLife” ( 7 July 1999); “Eternity and a Day,” (4 August 1999): 65.


Quiet Elegance: Japan Through the Eyes of Nine American Artists,” Cleveland Free Times (6 May, 1998): 25.


Maboroshi,” “Love Letter,” “Navigators of the Desert”(Tunisian film), “Israeli/Jewish Film Festival,” film reviews) The Plain Dealer ( 14 March, 1997, p. 11; 10 April, 1997, p. 8E; 21 May, 1997, p. 8E, 19 Sept., 1997, pp. 8–9).


“Mastroianni Film Festival,” (film festival review) The Plain Dealer (4 July,1997):6–7.


Israeli/Jewish Film Festival” (film festival review) The Plain Dealer (19 Sept.,1997): 8–9.


Picturing Japaneseness: Monumental Style, National Identity. Japanese Film.” Asian Cinema 9:1 (Fall 1997): 40–141.


Sets in Motion: Art Direction and Film Narrative.” Film Quarterly. 50:1 (Fall 1996): 62.


Japanese Classical Theater in FilmFilm Quarterly 49:4 (1996): 47–48.


Mr. Smith Goes to Tokyo: Japanese Cinema under the American Occupation, 1945–52.” Journal of Japanese Studies 20:2 (1994): 556–58.


Patterns of Time: Mizoguchi and the 1930s.” Film Quarterly 46 (1993): 57–58.


Heroic with Grace: Legendary Women of Japan.” Ed. Chieko Irie Mulhern, Asian Thought and Society 19:56 (May–Aug. 1994).


Saigyo: Poems of a Mountain Home.” Trans. Burton Watson, Asian Thought and Society 18:52 (Jan.–April 1993): 77–78.


The Warrior’s Camera: The Cinema of Akira Kurosawa.” East-West Film Journal 6: 2 (July 1992): 134–37.


The Japanese Version (video).” Journal of Asian Studies 51 (May 1992): 463–65.


The Asian Film Industry.” Film Quarterly 45 (1992): 61–62.


The Elephant Keeper (Thai film).” The Trumpeter: Journal of Ecosophy 8:1 (Winter 1991): 39.


Moving Pictures.” Post Script 8:3 (Summer 1989): 70–72.


Black Rain” (by Ridley Scott). Cinemaya (January 1990): 27–28.


Publications: Translations Kawamoto Kihachirō ¨A Puppet´s Life,¨ International Journal of Comic Art 14: 1 (Spring 2012): 525-529, translation from the Japanese with Hiroko Takada Amick)


                                                      Andrè, Scala, “Naruse et quelques Hollandais.” Cinemaya 31 (1995–96):

                                                      4–10 [Introductory essay, and translation from the French, with Michèle LeGault].


                                                      Felix Martialay, “Ugetsu Monogatari.” The Master Mizoguchi in Six

                                                      Critical Perspectives: Ugetsu. Ed. Keiko McDonald (Rutgers Univ. Press, 1993): 137–42 [Translation from the Spanish with David Anderson].


                                                      Sato Tadao, “What is ‘Typically Japanese?‘“ Cinemaya 20 (Summer

1993): 4–8.


Sato Tadao, “The Spirit of Compassion: Kurosawa’s Rhapsody in August.” Cineaste 19, no. 1 (1992): 48–49 [translation from Japanese].


Komatsu Hiroshi, “Some Characteristics of Japanese Cinema Before World War I.” Reframing Japanese Cinema. Ed. David Desser & Arthur Nolleti. Bloomington: Indiana Univ. Press, 1992: 230–58 [translation from the Japanese, with Okutsu Yuko].


“Miyagawa Kazuo: My Life as a Cameraman.” Post Script 11: 1 (Fall 1991): 5–19.


Federico Garcia Lorca, “Oriental Song.” Cumberland Poetry Review 11: 3 (Fall 1991):36–43 [translation from the Spanish with David Anderson].


Sato Tadao, “Change in the Image of Mother in Japanese Cinema and Television.” Cinema and Cultural Identity: Reflections on Films from Japan, India, and China. Ed. Wimal Dissanayake. New York: Univ. Press of America, 1988: 63–66 [translation from the Japanese, with Tonooka Naomi].


“The Individual in Japanese Discourse: The Artist as Speaker.” Communication Theory: The Asian Perspective. Ed. Wimal Dissayanake. Singapore: Asian Mass Communication Research and Information Centre, 1988: 139–49.


Work Cited in: Film Quarterly, Cinema Journal, Journal of Film and Video, Film History, Journal of Asian Studies, Cinemaya, The New York Times Review of Books, The Japan Times, Art on Screen, Cinema and Painting, among others.


Publications: Creative

Writing                                      In the Breathing Time, Night Harbour, Bodegón (3 collections of poetry), The Body is Round (for young readers), Shika Press, distributed through, Ingram Spark, and Amazon.


¨Chikubushima/Japan 2011¨ in The Bitter Oleander (Fall 2011)


   ¨In Granada¨                                                  De la literature a les cuines de la Mediterrània(24 Sept. 2010). In Catalan.


“Buster Keaton Takes a Walk,” The Bitter Oleander 15: 1 (2009): 28-31.


“Notes of a Zahorí,” Proteus (April 2009)


Kagemusha,” [online] and “In Xanadu,” in Puppetry International (26, special issue on Shadow Puppetry, Fall/Winter 2009: 17)


“Mai Po Marshes” and “A Walk in the Magic Garden” The Bitter

                                                      Oleander 13:1 (Spring 2007); 115, 116.


“Melendéz,” “Oranges: Sicilia,” “Tree of Wooden Clogs.” The Bitter Oleander 13:2 (Autumn 2007): 42­–44.


Other original poetry in International Poetry Review, Southern Poetry

                                                      Review, Grassroots, Tributaries: A Journal of Nature Writing, and other literary journals.