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New Boundaries: World Cinema in Africa, Asia & Latin America 

The Story of Film looks at world cinema in the period of 1990-1998 the waning days of the celluloid era and the birth of the digital age. It first looks at the cinema of Asia and filmmakers... See full summary »

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Himself - Presenter
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Herself - Interviewee
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Himself - Interviewee
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Himself - Interviewee
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Himself - Interviewee
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Himself - Interviewee
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Himself - Interviewee
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Herself - Interviewee
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The Story of Film looks at world cinema in the period of 1990-1998 the waning days of the celluloid era and the birth of the digital age. It first looks at the cinema of Asia and filmmakers in Iran (Samira Makhmalbaf, Mohsen Makhmalbaf, and Abbas Kiarostami), China (Wong Kar-wai), Taiwan (Tsai Ming-liang and Hou Hsiao-Hsien), Japan (Shinya Tsukamoto, Hideo Nakata, and Takashi Miike), Denmark (Lars von Trier), France (Mathieu Kassovitz, Bruno Dumont, and Claire Denis), Belgium (Jean-Pierre Dardenne and Luc Dardenne), Poland (Dorota Kedzierzawska), Russia (Viktor Kossakovsky), and Austria (Michael Haneke). Written by Shatterdaymorn

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26 November 2011 (UK)  »

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Himself - Presenter: [about 1995 primitive cinema wave] In their manifesto they pledged a vow of chastity to the following daunting rules: the camera must be taken off the tripod, the shape of the screen must not be wide, no set should be built, real locations should be used, no props should be brought to those locations, no music should be used, no lighting can be added, no flashbacks, and the director must not take credit.
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Features Ugetsu (1953) See more »

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The 1990s Around the World
23 July 2013 | by (United States) – See all my reviews

This time we are traveling to Iran and Hong Kong... but we are also going to my genre of choice...

The 1990s brought the world Japanese horror, with "Tetsuo" and a man who turns into metal. Inspired by David Cronenberg, who intertwined humans and technology and gave birth to cyberpunk. We also had "Audition", which welcomed Miike to America. Not to mention "The Grudge" and countless others Cousins does not get into.

Cousins says there is a "stillness" as a counterpoint to "violence", making Japanese horror films horror with a Buddhist aesthetic. I like that.

Oh, and we cannot forget Lars von Trier and company, who really tried to escape the studio setting and go artistically independent. (I am not sure how the "and company" has worked out, but von Trier is now a living legend.)


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