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On the History of Film Style pdf online

Reinventing Hollywood: How 1940s Filmmakers Changed Movie Storytelling

Film Art: An Introduction

Christopher Nolan: A Labyrinth of Linkages pdf online

Pandora’s Digital Box: Films, Files, and the Future of Movies pdf online

Planet Hong Kong, second edition pdf online

The Way Hollywood Tells It pdf online

Poetics of Cinema pdf online

Figures Traced In Light

Ozu and the Poetics of Cinema pdf online

Exporting Entertainment: America in the World Film Market 1907–1934 pdf online

Video

Hou Hsiao-hsien: A new video lecture!

CinemaScope: The Modern Miracle You See Without Glasses

How Motion Pictures Became the Movies

Constructive editing in Pickpocket: A video essay

Essays

Lessons with Bazin: Six Paths to a Poetics

A Celestial Cinémathèque? or, Film Archives and Me: A Semi-Personal History

Shklovsky and His “Monument to a Scientific Error”

Murder Culture: Adventures in 1940s Suspense

The Viewer’s Share: Models of Mind in Explaining Film

Common Sense + Film Theory = Common-Sense Film Theory?

Mad Detective: Doubling Down

The Classical Hollywood Cinema Twenty-Five Years Along

Nordisk and the Tableau Aesthetic

William Cameron Menzies: One Forceful, Impressive Idea

Another Shaw Production: Anamorphic Adventures in Hong Kong

Paolo Gioli’s Vertical Cinema

(Re)Discovering Charles Dekeukeleire

Doing Film History

The Hook: Scene Transitions in Classical Cinema

Anatomy of the Action Picture

Hearing Voices

Preface, Croatian edition, On the History of Film Style

Slavoj Žižek: Say Anything

Film and the Historical Return

Studying Cinema

Articles

Book Reports

Observations on film art

THE GRAND BUDAPEST HOTEL as fetish object

Monday | April 27, 2020   open printable version open printable version

     

DB here:

Question: Why is the window in the cell door a different shape in different shots?

An answer, and other observations, can be found in my video essay included in the new Criterion edition of Wes Anderson’s Grand Budapest Hotel. It hits the streets, as they say, tomorrow. Criterion offers a 30% discount through the end of this month.

My contribution is a small part of a packed release, lovingly–obsessively?–assembled by producer Susan Arosteguy. On the disc you’ll find a 2K digital transfer supervised by Anderson and a new audio commentary with Anderson, screenwriter Roman Coppola, Jeff Goldblum, and critic/filmmaker Kent Jones. There are storyboard animatics, a new documentary about the film, new interviews with the cast and crew, and behind-the-scenes, special-effects, and test materials.

An erudite liner-notes essay by Richard Brody considers the film’s relation to Stefan Zweig’s literary work. Matt Zoller Seitz, who has championed Anderson’s work from the beginning (see his overpowering books on Anderson’s career and Grand Budapest), contributes a video essay from 2015. There’s also an essay by Mark Twain on European hotel porters.

Not to mention tchotchkes:  a pretty collectible poster and a mini-scrapbook collaging Romantic Poetry and news clippings. The booklet is a gift from Z to A.

Studying the film again renewed my conviction that it’s an extraordinary movie. My piece extends and, I hope, enriches my original blog post by bringing in many other Anderson films and offering more ideas about his pictorial style.

Thanks, as ever, to the Criterion team: Susan, Peter Becker, Kim Hendrickson, Grant Delin, and all their in-house technical wizards, who found images which superbly illustrate my points. Local filmmaker Erik Gunneson and Teleprompter tsarina Gina Varilek were indispensable as well. And thanks to all the readers who continue to visit our several pages devoted to Anderson’s work.

Just the thing for bingeing today: a film offering courage, dignity, and tradition as a resistance to authoritarian aggression. It’s a movie proving, as Godard once said, that only two things matter in life: work and love.

The Grand Budapest Hotel (2014).

 

 

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