Communities that live on the fringes of modern society have always had a particular interest to a certain breed of filmmakers. Ken Loach focuses on some aspects of this in his work while Pier Paolo Pasolini positively insists on involving isolated and under-represented groups of people, whether within his narratives or in the production of the films themselves. Even last year’s Sight & Sound best … Continue reading An Episode In The Life Of An Iron Picket (2013) – Danis Tanovic.
Part 1. The Seventh Continent. Unlike Freud’s vision of how the Death Drive manifests, Haneke uses the idea as an attack on a number of his usual tropes. Aspects of modern life such as the dreary drag of the 9 to 5 to the middle class obsession with materialism and ownership/possession all come under fire and blame for the Death Drive take over. The Seventh … Continue reading The Seventh Continent (Michael Haneke) and the Freudian Death Drive – Part 2
While trailing through the film work of Pier Paolo Pasolini, it becomes clear that the director has an eye for capturing specific moments that manage to visually remain with the viewer. Whether it’s the floating maid in Theorem (1968), the walking on water in The Gospel According to St. Matthew (1964) or any number of images from Salò (1975), the director is often defined by … Continue reading Landscapes of Pasolini (Oedipus Rex, Theorem, Pigsty).
Reading through some of the writing of Frankfurt school philosopher, Theodor Adorno, it becomes extremely clear that mass culture is what he believes to be the fault of many of the world’s problems as well as symptom of them too; a false enlightenment perhaps, which is the product of simply being unable to accept a world after the end of the Second World War and, … Continue reading Salò (1975) and the Potential for an Adornian Film (Pier Paolo Pasolini).
There are a number of directors associated with the often brash task of dismantling the bourgeoisie through the use of allegory, metaphor and the sheer brutality of the cinematic form. Out of all of these, the likes of which include Luis Buñuel and Michael Haneke, Pier Paolo Pasolini stands tall above them in his consistent despising of the class and its social patriarchy. The late … Continue reading Theorem – Pier Paolo Pasolini (BFI Release).
Part 1. Part 2. Mulholland Drive In Context of Other Subversive Mainstream Films (Eyes Wide Shut). “For the duration of his career, and despite the size of his productions and the fact that they were all studio funded, Kubrick was very much an independent filmmaker.” – Horsley (2005, p.54) Lynch isn’t the only director to take Hollywood visuals and use them for his own artistic ends. A … Continue reading David Lynch’s Avant-Garde Uses Of Music – Part 3 (Influence).
The relationship between sound and vision in film is one that is complex and almost indefinable in a broad sense due to each director and composer treating such relationship in different ways. The two examples about to be discussed are almost reverse images of each other’s effects; the same method has been applied but for different reasons and different results. Much examination has taken place … Continue reading Musical Emphasis on Visual Words (François Truffaut and Pier Paolo Pasolini)