The General’s Son (1990) and Genre-Film Subversion (Im Kwon-Taek).

Im Kwon-Taek’s post Seopyeonje (1993) work perhaps feeds into the more art house desires and pressures from the west but on the cusp of this, his earlier genre film work still managed to show through in his 1990 film The General’s Son.  While on its faded surface is a relatively clichéd crime drama with added … Continue reading The General’s Son (1990) and Genre-Film Subversion (Im Kwon-Taek).

The Persistence of Modernity in Japanese Film Scores – Part 1 (Ozu, Tradition and Silent Film)

The Persistence of Modernity in Japanese Film Scores. Introduction The scores and music produced for Japanese cinema highlight a constant change of values within the country; a relationship rarely mirrored so accurately in the cinema of anywhere else.  Whereas the film scores of other countries can be looked at as a product of the trends … Continue reading The Persistence of Modernity in Japanese Film Scores – Part 1 (Ozu, Tradition and Silent Film)

Falstaff: Chimes At Midnight – Orson Welles (1965)

Like most films by Orson Welles, Chimes At Midnight (1965) sits uncomfortably in the shadow of his debut film; Citizen Kane.  However this is a view often dismissed by viewers that actually take the time out to watch the rest of the Welles canon and a viewing of any number of his films will quash the ridiculous criticism … Continue reading Falstaff: Chimes At Midnight – Orson Welles (1965)