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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

Rex Stout: Logomachizing

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

Little stabs at happiness 6: Breathe

Friday | October 16, 2020   open printable version open printable version

Commander in Chief (2020).

Last summer, in hope of reviving spirits in these times, I ran a series of clips I admired for their ability to arouse and energize. They created a sort of disciplined exhilaration through adroit editing, camerawork, and music. They reliably gave me a lift, and maybe you too.

Now, in the Caligula phase of Trump’s presidency, it seems appropriate to pay my respects to a masterpiece of engaging agitprop. I’ve registered my reservations about the Lincoln Project in an earlier entry, but there’s no denying that these  walking wounded of right-wing partisanship have recruited some very talented filmmakers. Their “Covita” assemblage was superb, and they have outdone themselves with this morning’s masterpiece.

Here it is:


Experience it–but then we should study it.

It’s an excellent example of what we call in Film Art associational form–a blending of images, sounds, and texts to imply ideas and provoke feelings, in the manner of lyric poetry. The text itself is a lyric poem, at once ode, elegy, and apostrophe. Demi Lovato’s choked, rising and falling vibrato is in itself powerfully expressive. Just as important, the audiovisual texture enriches the text. Sometimes it’s a matter of the image echoing the words, and sometimes the associations are purely visual. An element in one shot, such as a gesture or facial expression, will call up something similar, or a contrast.

The effects flash by quickly. Taken just as images, what do these shots have in common?

Nothing but a pulse: Labored breathing on a ventilator matches the flicker of an emergency vehicle’s turn signal, as if life is running out before our eyes..

The structure mimics the song’s layout. We move from problem to solution, from crisis to resistance, from emptiness to crowds, ending on a resolution that puts action in the hands of the viewer. Threading it all together is the way “I can’t breathe” gets redefined. The phrase shifts from being associated with George Floyd and other victims of police atrocities, to the COVID-19 pandemic, before adding a twist: Trump’s own bout with the virus, capped in a direct address to him. How does it feel to be able to breathe? By the end breathing becomes metaphorically linked to voting. How does that feel?

As I mentioned in that earlier entry, contemporary agitprop reminds us how much every filmmaker owes to traditions. The techniques used in Commander in Chief stretch far back into the history of cinema; the upraised fists of the finale could have come straight out of Soviet montage.

It might seem pedantic to talk this way about such a powerful piece of cinema. But the point is that the things we study are really out there, crafted by creative filmmakers and having an impact on viewers. The art we care about has concrete effects, and in studying it we can clarify just how those effects are achieved. Analyzing forms and styles can broaden our sense of what cinema can do, and it can strengthen our respect for the filmmakers who explore it.

A similar analysis could be undertaken with many of the best current polemical documentaries, like Unfit and Totally Under Control. These galvanize us not just through their subjects and “messages” but through their fresh use of conventions of form and style. (The sequences of Totally Under Control devoted to First Capon Jared Kushner will remain models of satiric montage.) As with the best of Adam Curtis’s work, these are important contributions not just to political discourse but to the history of film as an art form.

Those goosebumps, that quivering gut, those tears? They come from cinema, grand synthesis of the arts.


Another documentary working in this vein, Leo Hurwitz’s Strange Victory, is discussed here. It’s completely appropriate to our current crisis.

For other reflections on the Trump coup attempt, go here and here and here and here.

Totally Under Control (2020).

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