For a film that, on the surface, appears to be held in such high regard, Michelangelo Antonioni’s L’Avventura (1960) seems to have distanced itself from a number of its audience. While I often wish to adhere to the third person in criticism, this article cannot help but revert to a personal reception of the film and also refer to recent personal reflections shared online. After … Continue reading L’Avventura (Michelangelo Antonioni, 1960) – A Curious Distance.
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).
Part 1. Part 2. Part 3. Asia Extreme and the Westernisation of South Korean Film Music. The most popular avenue for South Korean cinema to enter the West, outside of the art-house festival circuit, is in the form that has loosely been dubbed “Asia Extreme”. This isn’t just South Korean film but also Japanese cinema as well as a number of others. The sub-genre is … Continue reading South Korean Film Scores and Ease of Distribution – Part 4 (Asia Extreme and Westernisation)
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.
Part 1. Im Kwon-Taek – Reluctant Traditionalist or Radical Experimenter? “Despite its ideological shortcomings and male-centred stance, Im’s cinematic sublimation of ‘Korean-ness’ still focuses on the contradictions between tradition and modernity among precarious lives existing on the periphery of a capitalist society.” (Lee, 2005, p.69) It is somewhat difficult to gage the cultural impact of a director’s films on a country outside of your own. … Continue reading South Korean Film Scores and Ease of Distribution – Part 2 (Im Kwon-Taek and Seopyeonje).
Tradition vs. Globalisation: The Relationships between South Korean Film Music and Its Ease of Consumption and Distribution. Introduction The Effect Of Globalisation Pressure On South Korean Cinema. “The core problem is no doubt that most of us in the West know little or nothing of Korea’s modern history. It’s impossible to understand Korea’s artists without knowing the context in which they worked…” (Rayns, 2012, p.40). … Continue reading South Korean Film Music and Ease of Distribution – Part 1 (Tradition vs. Globalisation).
Celebrating loss can be a difficult task even for the more optimistic of personas. The idea of someone being physically and emotionally lost is not a pleasant experience which, at best can provide some cathartic character building in between the tears and complete incomprehension as to what exactly it means to live or die. It’s a theme familiar in many filmmaker’s auteur driven, thematic catalogues, … Continue reading Festival (1996) and the Acceptance of Loss – Im Kwon-Taek.
One of Friedrich Nietzsche’s more famous and strangely popular idioms is his “Death of God” theory presented through the madman in his 1883 work The Gay Science. Though it has been used for all sorts of philosophical and theological purpose, often twisting it to fit whatever schematics the debater wants to shape it into, the idea itself can apply to several pieces of cinema, all … Continue reading Collapsing Belief Systems and The Nietzschean Death – (Winter Light, The White Ribbon, The Turin Horse).
Part 1. Ideas In Later Films By Godard. Godard would continue to subvert the role of record players in his work to similar but more extreme effects. It seems odd that the connecting factor to all the scenes mentioned is the presence of his, then wife, Anna Karina. Godard is capable of presenting her dancing and singing with a relatively normal relationship between the visual … Continue reading Avant Godard! – Part 2, Musical Subversion (Bande à Part and Pierrot Le Fou)
Werner Herzog is a dangerous director. Not content with simply make believe, he appears to enjoy a masochistic relationship with actually putting himself through his own film’s narratives and challenges. Perhaps he feels that it yields the best results but it’s obvious when watching any of his films that more blood, sweat and tears have gone into making them than pretty much any other filmmaker … Continue reading Aguirre, The Wrath of God – Werner Herzog (1972)