Coudal Partners Chris Marker b. Christian François Bouche-Villeneuve (1) b. July 29, 1921, Neuilly-sur-Seine, Hauts-de-Seine, Île-de-France, France filmographybibliographyarticles in Sensesweb resources “I write to you from a far-off country…” Information regarding the early life of Chris Marker, photographer, filmmaker, videographer, poet, journalist, multimedia/installation artist, designer, and world traveler, is scarce and conflicting. Film school textbooks and books on film history have arrived at a general agreement to treat any French filmmaker working outside of (or alongside) the French New Wave as secondary: exclusions include Jacques Tati – who, like so many other giants in the medium, worked on a wave of his own design – and the filmmakers who belonged to the Left Bank group. My association with Marker’s work began when, as a lark, I picked up the New Yorker Films videotape of Sans soleil, based on praise by Geoff Andrew, Jonathan Rosenbaum, and others. Filmography Olympia (1952) 82 minutes ¡Cuba Sí!
10 Movies I Wish Were Based on True Stories | Jinni Blog - StumbleUpon The Men Who Stare at Goats, starring George Clooney, Kevin Spacey, Jeff Bridges and Ewan McGregor, is about a secret, psychic military unit. Just a few things this unit does: Attempt to kill goats by staring at them and examine the use of Barney the Dinosaur’s theme tune on Iraqi POWs. Oh, and it’s based on a true story. Wait, what? Yes, this is not a mistake, this movie is based on a true story. 10. Why do I wish it was true? Here, a teenage girl is approached by all sorts of different people - each claiming to be God delivering instructions for her next mission. 9. 12 Monkeys (1995) Why do I wish it was true? When a man enters a hospital claiming to have journeyed back in time from the future to stop a killer virus from exterminating mankind, a beautiful psychologist decides he might be more than delusional. 8. Why do I wish it was true? 7. Why do I wish it was true? After a car accident, modern-day police detective Sam Tyler wakes up in 1973. 6. Why do I wish it was true? 5. 4. 3. 2.
Part 3: Cinematography Section 1 - Quality This section explores some of the elements at play in the construction of a shot. As the critics at Cahiers du cinéma maintained, the "how" is as important as the "what" in the cinema. The look of an image, its balance of dark and light, the depth of the space in focus, the relation of background and foreground, etc. all affect the reception of the image. For instance, the optical qualities of grainy black and white in Battle of Algiers (Gillo Pontecorvo, Maarakat madinat al Jazaer, Algeria, 1965) seem to guarantee its authenticity. On the other hand, the shimmering Technicolor of a musical such as Singin' in the Rain (Stanley Donen, 1952) suggests an out-of-this-world glamor and excitement. Early films were shot in black and white but the cinema soon included color images. Juliet of the Spirits was the first Fellini film in color, and he intended to make full use of it. Contrary to popular belief (and Goethe), colors do not necessarily carry exclusive meanings.
Eisenstein's montage theory Montage--juxtaposing images by editing--is unique to film (and now video). During the 1920s, the pioneering Russian film directors and theorists Sergei Eisenstein and Dziga Vertov demonstrated the technical, aesthetic, and ideological potentials of montage. The 'new media' theorist Lev Manovich has pointed out how much these experiments of the 1920s underlie the aesthetics of contemporary video. Eisenstein believed that film montage could create ideas or have an impact beyond the individual images. Two or more images edited together create a "tertium quid" (third thing) that makes the whole greater than the sum of its individual parts. Eisenstein's greatest demonstration of the power of montage comes in the "Odessa Steps" sequence of his 1925 film Battleship Potemkin.
Peak Moment Television Terry Gilliam b. Terence Vance Gilliam b. November 22, 1940, Minneapolis, Minnesota, USA filmographybibliographyweb resources Federico Fellini’s 8½ (1963) opens with one of cinema’s seminal dream sequences: a man is liberated from his car and coasts inhumanly between lanes in a swell of immobile traffic, extends his arms and coasts into the sky. Thematically this action is a durable metaphor in film, a staging of temporary freedom from vices and disturbances that bear numerous incarnations. A capsule description of Gilliam’s work obligates a variety: his films depict over three millennia of history, approach birth and death, youth and old age. Terence Vance Gilliam was born in 1940 in Minneapolis, Minnesota. Gilliam is seen peripherally as an actor in Monty Python’s Flying Circus (1969), though it is his handcrafted, cut-out animation sequences that is his distinguishing contribution. Comedy, inevitably, distinguishes each of Gilliam’s first films. Time Bandits ostensibly resembles Jabberwocky.
Most Controversial Films of All Time - StumbleUpon The Moon is Blue (1953) D. Otto Preminger Well-bred people in the 1950s didn't use words like "virgin," "seduce" and "mistress" in public, but this mild sex farce did and became a cause celebre. This daring sex farce and romantic comedy was the first major studio-produced film from Hollywood that was released without an approved code seal from the Production Code Administration (PCA). It was deliberately made as a test case by its producer/director Otto Preminger. The PCA's Joseph Breen complained about the film's unacceptable, comedic "light and gay treatment of the subject of illicit sex and seduction." Following the Kansas Board of Review of Motion Picture's decision to ban the film, the Kansas State Supreme Court upheld the decision. After meeting Donald on the top of the Empire State Building (where he impulsively kissed her), they shared a taxi ride to his Madison Avenue apartment for drinks before dinner.
Touching the Film Object? Notes on the 'Haptic' in Videographical Film Studies As a longtime devotee of observing from a scholarly distance, I had never been grabbed before -- or, indeed, 'clasped' or 'fastened' (the original meanings of the Ancient Greek verb haptein) -- by Laura Marks' notion of 'haptic visuality'. But after I had made some video essays about films, the desire to explore hapticity and its workings took hold. This is how the above video/text collages and the below notes came into being. While I still believe that Marks' concept could benefit from a more thorough thinking through in relation to audiovisuality, hapticity -- a grasp of what can be sensed of an object in close contact with it -- seems to me now to be very helpful in conceiving what can take place in the process of creating videographic film studies. In the old days, the only people who really got to touch films were those who worked on them, particularly film editors. But, are there other ways in which 'touching film' is just a fantasy? Finally, does TOUCHING THE FILM OBJECT?
FilmmakerIQ.com Jamie Beck e Kevin Burg - Cinemagraphs - fotografie in movimento “There’s something magical about a still photograph - a captured moment in time - that can simultaneously exist outside the fraction of a second the shutter captures.” Jamie Beck La fashion fotographer newyorkese Jamie Beck, in collaborazione con il designer e motion graphic artist Kevin Burg, è l’autrice della serie “cinemagraphs”, gif fotografiche animate a metà strada tra video e foto. Immagini statiche decongelate e trasformate in attimi. I due artisti hanno iniziato a sperimentare questa tecnica durante la Settimana delle Moda di Milano, a febbraio. Il primo approccio è stato quello di sequenziare le immagini con loop in rapida successione. Il risultato finale è unico. Of course the technology to create GIF’s has been around for decades but I believe its potential for both expression and impact, within the fashion world, has yet to be fully explored. Jamie Beck
Retrospecto: La Jetée Nothing sorts memories from ordinary moments. They claim remembrance when they show their scars.Chris Marker. La Jetée. review by Simon Sellars The films of Chris Marker are often termed ‘essayist’, participating in a phenomenological play with deep roots in French intellectualism. La Jetée is perhaps the most ‘fictional’ of Marker’s output, weaving its story of a nuclear-devastated Paris in the near future; it is far from conventional. La Jetée‘s prologue depicts a young boy watching passenger jets take off from the jetty at Orly Airport. Flash-forward to the aftermath of World War Three: Paris is in ruins as a ragged band of survivors hole up underground. He is sent to the past on a trial run: the scientists know he has a deep-rooted memory from that time that will cushion the shock of ‘awakening, fully born, into another age’. Time-travelling, he meets the woman. He is at the Orly jetty. La Jetée‘s influence is palpable. – Simon Sellars
10 Dumbest Moments In Movies | Interesting Movies - StumbleUpon I’ve seen a lot stupid movies in mi life, but some moments are just too stupid. I’m sure it happened to you too. Well, i I have right, take a look, and i am sure that you will recognize some really stupid moments in movies. Take a look, and enjoy Compromised FBI agent, Keanu Reeves, is forced to help in escape of robber, Patrick Swayze. Code breaker, scientist Scott and his assistant in form of Kate Winslet, grab a part of German code machine, Enigma. Writer Charlie Kaufman is imprisoned in a swamp by John Laroche and Susan Orlean, subject and author of his adaptation “The Orchid Thief”. You got to admit, pretty good beginning of a movie. Stallone in a pretty good story, on a very unusual place. Cameron Diaz and her jubilant friends Christina Applegate and Selma Blair, are in a restaurant and talk about… well mostly they talk about male geitalia. 7. xXx (2002) Modern version of 007, Vin Diesel is in bad situation. Great begining of Victor Salva movie. Master of suspense, M.