{"id":43764,"date":"2020-01-31T15:14:39","date_gmt":"2020-01-31T21:14:39","guid":{"rendered":"http:\/\/www.davidbordwell.net\/blog\/?p=43764"},"modified":"2020-01-31T16:12:47","modified_gmt":"2020-01-31T22:12:47","slug":"vampyr-and-more-on-the-criterion-channel","status":"publish","type":"post","link":"https:\/\/www.davidbordwell.net\/blog\/2020\/01\/31\/vampyr-and-more-on-the-criterion-channel\/","title":{"rendered":"VAMPYR and more on the Criterion Channel"},"content":{"rendered":"

\"\"<\/a><\/p>\n

DB here:<\/p>\n

Busy times! I’ve gone back to teaching this semester, and we’re revising Film History: An Introduction. <\/em>So we’ve been\u00a0kept from posting as often as we’d like. For the moment just let me signal the newest additions to our Observations series<\/a> on the Criterion Channel<\/a>.<\/p>\n

In recent installments, Kristin offers an analysis <\/a>of how film technique suppresses and reveals story points in Jane Campion’s An Angel at My Table<\/em>. A free extract is here<\/a>.<\/p>\n

\"\"<\/a><\/p>\n

Jeff Smith traces how mise-en-scene techniques<\/a>, especially settings, yield feminist implications in Gillian Armstrong’s My Brilliant Career<\/em>. Sample it here<\/a>.<\/p>\n

\"\"<\/a><\/p>\n

This month, as you see above, I’ve offered a consideration of Vampyr<\/em> as an experimental film<\/a>. Again, you can see a clip<\/a>.<\/p>\n

Thanks to the people who’ve told us they enjoy our offerings, now running for nearly three years, longer than Joanie Loves Chachi.<\/em> Thanks\u00a0as well as to the group that makes it possible: Peter Becker, Kim Hendrickson, Grant Delin, Erik Gunneson, and the rest of the team in Madison and Manhattan.<\/p>\n

\"\"<\/a><\/p>\n

With the Channel sponsoring an ambitious seventeen-film Burt Lancaster series<\/a>, you might check out this entry on Brute Force<\/strong><\/a>.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

DB here: Busy times! I’ve gone back to teaching this semester, and we’re revising Film History: An Introduction. So we’ve been\u00a0kept from posting as often as we’d like. For the moment just let me signal the newest additions to our Observations series on the Criterion Channel. In recent installments, Kristin offers an analysis of how […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[262,105,1,60,59,208],"tags":[],"class_list":["post-43764","post","type-post","status-publish","format-standard","hentry","category-criterion-channel","category-directors-dreyer","category-film-comments","category-technique-cinematography","category-technique-staging","category-national-cinemas-australia"],"_links":{"self":[{"href":"https:\/\/www.davidbordwell.net\/blog\/wp-json\/wp\/v2\/posts\/43764","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.davidbordwell.net\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.davidbordwell.net\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.davidbordwell.net\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.davidbordwell.net\/blog\/wp-json\/wp\/v2\/comments?post=43764"}],"version-history":[{"count":5,"href":"https:\/\/www.davidbordwell.net\/blog\/wp-json\/wp\/v2\/posts\/43764\/revisions"}],"predecessor-version":[{"id":43777,"href":"https:\/\/www.davidbordwell.net\/blog\/wp-json\/wp\/v2\/posts\/43764\/revisions\/43777"}],"wp:attachment":[{"href":"https:\/\/www.davidbordwell.net\/blog\/wp-json\/wp\/v2\/media?parent=43764"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.davidbordwell.net\/blog\/wp-json\/wp\/v2\/categories?post=43764"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.davidbordwell.net\/blog\/wp-json\/wp\/v2\/tags?post=43764"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}