Jean-Luc Godard’s Alphaville (1965) was one of the first pieces of non-Anglo American cinema that I watched. It may have been diving in toward the deep end in some regards but something became very striking about the film as its running time trickled by. It said more than other dystopias, noirs or sci-fi but this “more” wasn’t to do with anything that could be described … Continue reading Alphaville (1965) and the Absurdities of Cinema – Jean-Luc Godard.
Part 1 Part 2 Part 3 The Loneliness of the Long Distance Runner. The Metaphorical Use of Diegetic Sound and Music. The Loneliness of the Long Distance Runner has several different uses of sound; two of which aren’t musical. The title perhaps gives a hint that the sound of running feet on a hard ground will play a vital role in the film. This rhythmic, … Continue reading The Loneliness of the Long Distance Runner – Use of Music and Sound In British Working Class Film (Part 4).
Part 1 Part 2 Blue’s cinematic screening – Readings, Reception and Contradictions. “Whilst homosexuals die, many heterosexuals reach for the remote control and simply turn up the volume. Does it come in stereo?” (Jarman, 1993, p.138) The screening of Blue in cinemas during its 1993 release date is its most typical form though screenings were rare and often film festival based rather than through a … Continue reading The Problematic Reception of Derek Jarman’s Blue – Part 3 (Cinematic Screenings).
David Gladwell may be more well known as Lindsay Anderson’s editor on such cinematic masterpieces as If…. (1968) and O Lucky Man! (1973) but his own directorial endeavours are equally worthy of discussion and analysis, especially in their relation to both his editorial work and his own creative trajectories. Whether it is the, very English, visual language of his first four short films or the … Continue reading The Early Short Films of David Gladwell.
Part 1. Part 2. Metaphorical Music and British New Wave Film. “But who could describe the delicious sensation produced in me by the delicate harmony and angelic singing of that song which finally did! What an awakening, what bliss, what ecstasy when I opened my ears and my eyes together!” (Rousseau, 1781, p.294). British New Wave Film. The British New Wave movement, like so many … Continue reading The Use of Sound & Music in British Working Class Film – Part 3 (British New Wave Cinema).
Part 1 The Reception of Blue in its Original Forms. Blue in Written Form and Early Performances. “The difference between formalist and realist philosophies is not in the possibility of affecting the spectator but in what the cinema ought to do, its prescriptive work. Cinema either organizes the world or duplicates the experience of perceiving of it for the spectator.” (Staiger, 1992, p.51) Though Blue … Continue reading The Problematic Reception of Derek Jarman’s Blue – Part 2 (Early Forms of Blue)
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.
Part 1. Part 2. The Music of Soo-Chul Kim and the P’ansori aesthetic. Soo-Chul Kim is the composer of the nondiegetic score for Seopyeonje, though it is unclear how much influence he had on the other musical aspects of the film. Looking at the film’s score, it can at first seem quite sparse once the diegetic P’ansori music is ignored. Soo-Chul Kim’s music recurs throughout … Continue reading South Korean Film Scores and Ease of Consumption – Part 3 (Seopyeonje’s P’ansori and Soo-Chul Kim).
The preservation and evolution of South Korean cultural traditions became the dominant focus of Im Kwon-Taek’s films after the ease of censorship in a change of government regime. A number of his post-genre cinema began to address this though the real cultural reactions can be found in later work which can effectively be called post-Cannes; meaning the cinema he made during his currently slow but … Continue reading Chi-hwa-seon (2002) – Im Kwon-Taek.
Some directors are very natural in their status as crowned auteur; their films always seemingly a product of their own conception which seems unavoidable to visually mistake. Seeing all of Andrei Tarkovsky’s films, this is perhaps clearer to see than most other directors. His distinctive visual style, which morphs into several similar variations, is instantly recognisable. Dripping with faded lights, distinct textures and elemental forces, … Continue reading Andrei Tarkovsky – Polaroids, Mementos and Time.