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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

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

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Observations on film art

Archive for the 'Directors: Fassbinder' Category

Fassbinder’s figures: Jeff Smith on ALI: FEAR EATS THE SOUL

Ali 600

DB here:

Normally our co-conspirator Jeff Smith would be guest-blogging to fill in background on his new installment on the Criterion Channel. That entry is devoted to Fassbinder’s great social melodrama Ali: Fear Eats the Soul. But Jeff is ramping up for the start of a semester, and we’re hustling to get ready for a trip, so let this notice do duty.

In this month’s entry, Jeff digs deep into Fassbinder’s directorial style and shows how it connects to the film’s portrayal of bigotry–ethnic, racial, age-related. Since at least Katzelmacher (1969), and right up to Querelle (1982), Fassbinder was constantly experimenting with performance and staging. Ali is one of his triumphs. Jeff is especially acute, I think, in showing how before-and-after parallels in the drama emerge from shrewd repetitions of compositions and mise-en-scene. Thanks to the boffins at Criterion, these become crystal-clear through judicious split-screen.

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Jeff’s entry is one of our very best, and we hope subscribers to FilmStruck and the Criterion Channel will enjoy it. The transfer is very pretty too. Coming up in future months: entries on M, The Phantom Carriage, Brute Force, and Chungking Express.

As for Kristin and me, we’re off to the Venice International Film Festival. Peter Cowie has kindly invited me to be on the panel devoted to discussing the projects in the Biennale College Cinema 2017. From the press release:

“The thirteen feature films already produced and screened during the first four years of the Biennale College Cinema program have met with acclaim throughout the world. Produced on an ultra-modest budget, each of them showed an unusual talent and an innate gift for filmmaking,” notes moderator Peter Cowie (film historian and former Int’l Publishing Director of Variety). “The Biennale College Cinema scheme is exciting chiefly because it is in essence a workshop – a workshop and laboratory that places the focus squarely on two essential themes: the making of low-budget films in a period of global recession, and the need to find youthful auteurs if the cinema is to be reinvigorated.” The laboratory was created by the Biennale di Venezia in 2012 and is open to young filmmakers from all over the world.

This is very exciting. And while we’re in Venice, we hope to reconnect to old friend Mark Johnson (producer of innumerable outstanding films, including Rain Man, Logan Lucky, and Galaxy Quest) and newer friend Alexander Payne. They’re arriving with Downsizing. Many other major films will be there, and we hope to report on some of them here over the next two weeks. And then there’s some scary Virtual Reality….


Thanks as ever to Peter Becker, Kim Hendrickson, Grant Delin, and all their teammates at Criterion. A complete list of the Observations on Film Art series (ten already!) is here.

Videos of earlier Biennale College Cinema panels can be found here. Glenn Kenny discusses last year’s event on RogerEbert.com.

Our own efforts at split-screen analysis yielded a comparison of the murder and its replay in Mildred Pierce. You can see that here, and the accompanying blog entry here.

Ali coat 600

Ali: Fear Eats the Soul.

David Bordwell
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