5 items from 2011
Too bad the critical symposium in the new, Winter 2012 issue of Cineaste isn't online. Participants evidently include Gianni Amelio, Olivier Assayas, Costa-Gavras, Robert Greenwald, and Sally Potter, "among others," but until we get our hands on the print edition, we'll have to make do with what is online, which, after all, is plenty: Patrick Z McGavin on Dave Kehr's When Movies Mattered: Reviews from a Transformative Decade, Richard James Havis on Kyung Hyun Kim's Virtual Hallyu: Korean Cinema of the Global Era, Andrew Horton on New Zealand Film: An Illustrated History and Henry K Miller on Brutal Intimacy: Analyzing Contemporary French Cinema and The New Extremism in Cinema: From France to Europe. And that's just the book reviews.
Besides the interviews with Mona Achache and Charlotte Rampling and festival reports (Locarno, Toronto and Montreal), the 15 reviews include David Sterritt on Kubrick's The Killing (1956), Joseph Luzzi on Raffaello Matarazzo, »
Many genres that Hollywood used to rely on for lots of hits have long since fallen by the wayside. Zoe finds out what happened to them…
Hollywood, the world's entertainment factory, has, for the past one hundred years, been producing films that have been enjoyed by audiences around the world. And in that time, a lot has changed, society, technology, fashions, tastes, and lifestyles, all of which Hollywood has continued to accommodate.
It's come a long way from its humble beginnings in the days of melodramatic, black and white, silent films with somewhat crude production methods. Hollywood has evolved into something more sophisticated and streamlined. But with so much change in such a fast paced industry, have some genres fallen behind? Or is it the case that these too have simply evolved into something more sophisticated and subtle?
The musical is arguably the most uplifting and escapist genre to »
L.M. Kit Carson, the legend, the man, returns to discuss his recent encounter with greatness, Jan Harlan, Mr. Kubrick's producer.Read L.M. Kit Carson's last guest post for us on David Holzman's Diary Here. What you can find out from some semi-private time with Stanley Kubrick’s multi-movie (The Shining, Full Metal Jacket, Eyes Wide Shut) final producer Jan Harlan is… …you can find out--how totally susceptible Kubrick was to the story-power of music. A special memory kept by Harlan is seeing Kubrick struggling with how to work his movie-making-evoking of the Mystery of the Universe for 2001: A Space Odyssey –… »
"In the crawlspace between the mockumentary and the documentary, there exists a group of movies that can tentatively be described as 'false cinema,'" suggests Jaime N Christley in Slant. "They look exactly like fly-on-the-wall documentaries, but they are, from the ground up, total fabrications. Recent examples can include Catfish and (as it has been suggested) Exit Through the Gift Shop, though the real point of origin is either Peter Watkins's The War Game (which won the documentary Oscar for 1967) or Luis Buñuel's Land Without Bread, depending on where you draw the fault lines. The group, which also can be said to include The Blair Witch Project, most of Watkins's other films (up to and including La Commune (Paris, 1871)), and a handful of others, is barely large enough to form a cohesive unit, yet a few distinct tendencies bind them together. They favor a cinéma vérité, you-are-there approach and, »
I moved to NYC almost three decades ago, but the coolest and most forward thinking movie then had gotten here almost a decade earlier. David Holzman's Diary is often described as America's answer to Godard--and they are talking his early films when they say that. It's such a fun, smart, provocative film that we needed to wait forty years for history to catch up to it. Not only do we now have a chance to catch up to it, the technology and it's various partners have provided us with many ways to appreciate it, but for me it is a… »
5 items from 2011
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