Our Sunhi 우리 선희 Uri Seonhui 2013 South Korean film. YouTube. On the Road (2012) El viaje en paracaídas (1994) The Complete Citizen Kane - Documentary. "LA JETÉE" de CHRIS MARKER (1962) ( V.O.S.E.) Films and Readings | The Film Experience | Literature. A Closed Door That Leaves Us Guessing. So, that's a director. You, who are beginning to make films, you must keep a bit of The Tramp in you, and you must have begun already to have a bit of A Countess from Hong Kong in you too. You must always have the extreme youth of The Tramp that wants to speak against society, that we're on the street, that we have the sky and belong to mankind, and you must have begun already to have a bit of A Countess from Hong Kong, being very old and a bit bitter.
That, in order to say as he does in that film, that society has let go of him, that it doesn't take an interest in him any more. Here, perhaps it's different in Japan, because the Japanese relationship with old age is completely different. As Deleuze put it very well: an old man is not only somebody who is just old, and is only that, he's also someone who has been released by society.
This seems abstract, but really it's not. Besides, great directors are never original. [Projection] Thank you. For Bresson, then, it's very clear. In Memoriam: Raymonde Carasco 1933-2009. On discovering the work of Raymonde Carasco – an exemplary poetic enterprise in contemporary cinema – suddenly it seems that film is at last accomplishing the ideals of German Romanticism. 'If you wish to enter into the depths of the physical', wrote Schlegel, 'you must first be initiated into the mysteries of poetry'.
How can cinema reach the poetic truth of phenomena, how should the sensual description of appearances and particularities be converted into such a 'magnetic song'? We must thus go back to the very origin of Carasco's quest. She did not set out for in the late 1970s in order to rape and pillage the imaginary of the Tarahumaras, but rather to follow the traces of Antonin Artaud, to empirically verify the encounter between a sacred text of modernity and its reality. Buster Keaton's "Cops" (1922) "Cops" is a Joseph M. Schenck short comedy, starring Buster Keaton and featuring Joe Roberts, a star of Silent Hall of Fame. The film is full of hilarious moments and demonstrates Buster Keaton's extraordinary athletic abilities.
It enjoys a very strong 7.8 rating on IMDB. "Cops" was added to the National Film Registry in 1997 as being deemed "culturally, historically, or aesthetically significant". Directed by Eddie Cline, Buster KeatonProduced by Joseph SchenckScenario by Eddie Cline, Buster Keaton Starring Buster Keaton, Joe RobertsCinematography Elgin LessleyDistributed by First National Pictures Inc.Release date March, 1922Running time 18 min.Country United StatesLanguage Silent film, English intertitles You can see a slideshow of stills from this film and other interesting stuff on our website silent-hall-of-fame.org.
We also fight for your right, the right of the public, to see silent masterpieces that have been kept in hidden vaults for far too long. Aspen no. 2, item 7: The Young Outs vs The Establishment. Film — The Andromeda of the Arts Lionel Trilling, Author, Critic, Columbia University Professor Ever since its earliest beginnings, the cinema has been thought of as potentially the great art of the future; and as its technical resources have proven, more and more has been. expected of it, once it was liberated. Once it was liberated — for the cinema, if it was ever born free, is everywhere in chains. It is the Andromeda of the arts, and many men of great talent have wished to be its Perseus. In this, its situation is unique. Surely in all the history of culture, there is no other example of an art coming to so high a point of technical and aesthetic development without gaining full autonomy—at the risk of being pretentious, I will say without gaining full spiritual autonomy.
We are all aware of one reason—a chief reason—why this is so. But something has happened to the tastes of our large populations. These new circumstances of taste are very impressive. If We Have to Bury You... Post tenebras lux: materiales para un ensayo. Este texto no es una reseña, un análisis o una interpretación de Post tenebras lux de Carlos Reygadas: es una más o menos breve colección de apuntes sobre algunas de sus veinte secuencias. Con muy buena suerte, podría serle útil a quien se decida a hacer un ensayo crítico sobre esta película. Ahí queda, por si ocupan. (El número de secuencias puede variar según quién las mire y cómo las cuente. Éste es un conteo posible y nada más. Agrego, junto al “título” de cada una de ellas, su duración aproximada. 1.
Toda o casi toda película establece normas internas para poder ser vista. 2. Una de las secuencias más “difíciles” de la película. 3. Un bosque pluvial y la primera tala del Siete. Cineaste Magazine - Articles - <em>Silent Witness</em>: An Interview with Carlos Reygadas. The two features that precede Silent Light (2007) in Carlos Reygadas’s filmography, Japón (2002) and Battle in Heaven (2005), are characterized by flamboyantly enigmatic images of transgressions either sexual or political or, in some cases, both simultaneously. The unnamed middle-aged protagonist of Japón travels from Mexico City to a remote mountain village where, following a failed suicide attempt, he has awkward intercourse with Ascen, an elderly woman.
Marcos, the obese, indigenous, working class protagonist of Battle in Heaven, is found in the film’s ethereal bookend scenes receiving oral sex from Ana, a young, white, attractive, upper class prostitute. How such images contribute to the narrative cohesion of their respective films is indeed left highly ambiguous, yet close consideration proves them to be far richer—if perplexingly proliferate—in significance than their sensationalistic and/or controversial veneer might imply.
Reygadas: No, not at all. Reygadas: In a way, yes. Imogene Coca--What's My Line. A Lost Comedic Masterpiece from 1984. In the classic definition of a masterpiece—a work created to establish one’s status as an artisan worthy of recognition as a first-rank creator—the movie “Nothing Lasts Forever” fits the bill perfectly. It should have propelled its writer and director, Tom Schiller, into the front rank of directors, or at least announced him as one of the most original younger filmmakers working at the time. Instead, the movie, scheduled for release in 1984, went unreleased by the studio that produced it, M-G-M, and Schiller kept his day job—making short films for “Saturday Night Live”—and went on to make commercials. He should have won acclaim for that film—and its lack of a release, as well as the obscurity in which it unjustly remains today, is a loss to the world of movies, to viewers, and to the evolution of the art. Schiller knowingly, lovingly, subtly yet riotously meshes these classic styles at every level of the movie.
He returns to find New York a changed city. Nothing Lasts Forever- 1984(unreleased) Things to Look Into: The Cinema of Terrence Malick. Criterion. When Ingmar Bergman died in July 2007—on the same day as Michelangelo Antonioni—an unexpected controversy arose. Among the obligatory eulogizing obituaries, celebrating his towering achievements and itemizing the admiration for his work by directors ranging from Woody Allen to David Lynch and Robert Altman to Lars von Trier, there were also dissenting voices (most prominently, Jonathan Rosenbaum in a New York Times op-ed) claiming he was overrated, lacked stylistic originality, and merely inflicted personal psychodramas on awestruck audiences.
One might imagine this gainsaying simply reflected the longevity of Bergman’s career and a certain iconoclastic impatience with some of the more predictable hyperbole and praise heaped on the departed. But in fact it was a repeat performance: controversy over Bergman goes back a long way, and in New York was sparked by no less a film than Persona, his 1966 masterpiece. The first of these shots is from the prologue. A Closed Door That Leaves Us Guessing. Poetic License by Joshua Land. Art exists that we may recover the sensation of life....The purpose of art is to impart the sensation of things as they are perceived and not as they are known. The technique of art is to make objects “unfamiliar,” to make forms difficult, to increase the difficulty and length of perception because the process of perception is an aesthetic end in itself and must be prolonged.
—Viktor Shklovsky, from “Art as Technique” (1925) I see very few films and very few videos. I am not influenced by any particular director—my only influence is reality. The elevation of Abbas Kiarostami into the Western film-critical canon represents an ongoing challenge to some established ways of thinking about cinema. Kiarostami has used the phrase “poetic cinema” to describe the type of films he’s interested in creating. Similar currents run through Iranian cinema of the period. The story is simple enough. Close-Up continually creates the impression of transparency while actually undercutting it.
Danièle huillet & jean-marie straub — trop tôt, trop tard. Cine.