I had, for some time, been wanting to dive into the city of Paris but had, for unconscious reasons, always put it off. I could never figure out truly why the thought of this city had both a powerful draw and a hand pushing on my chest to keep my distance but, after finally visiting this summer, I knew the reason why. It was because … Continue reading Wanders: Paris & Cinema
In spite of working wearily outside of the French New Wave movement, Claude Sautet’s debut feature, Classe Tous Risques (1960), cannot help but evoke the cinematic environment bursting forth around it. While it may seem crass to spend time discussing more well known work in an article about a director whose work has been largely ignored outside of his national audience, it should also aim … Continue reading Classe Tous Risques (1960) – Claude Sautet (BFI)
While Ai Weiwei’s work with pots represent the artist’s more accessible work, there’s something about his actions and decisions with the, often expensive and historically relevant, pots that seem weirdly cinematic. This isn’t to say that they look like something out of a film (though actually they could easily work as something surreal given the right audience) but that the ideologies behind the works have … Continue reading Ai Weiwei’s Pots and Jean-Luc Godard’s Celluloid.
Avant Godard! Musical Subversion And Fictional Interaction With Non-Diegetic Music In The Films Of Jean-Luc Godard. Introduction – French New Wave As Avant Garde. When discussing Avant Garde cinema, the most obvious choices of cinematic subject would no doubt be linked to the likes of Dali, Buñuel and Cocteau. However, the gradual movement from Avant Garde to Art House cinema presents a more interesting case for Avant Garde … Continue reading Avant Godard! Musical Subversion In The Films Of Jean-Luc Godard. (Part 1)