Bitumen Music: Walter Hill’s The Driver (1978) John Edmond March 2017 Cinémathèque Annotations on Film Issue 82 A long shot is of the human body in full view, a medium from torso up, a close-up the face or equivalent part. Humanly derived, these delineations buckle when applied elsewhere. A car in side profile is in...
Concrete Passages: Cinema’s Baroque Flesh: Film, Phenomenology and the Art of Entanglement, by Saige Walton John Edmond March 2017 Book Reviews Issue 82 The merits of Saige Walton’s Cinema’s Baroque Flesh: Film, Phenomenology and the Art of Entanglement lie in the parallels between baroque thinking and phenomenology. Here the baroque is a transhistorical...
The Vanguard of Marketa Lazarová John Edmond September 2016 Cinémathèque Annotations on Film Issue 80 Vladislav Vančura cleared the path for Marketa Lazarová (Frantisek Vlácil, 1967). Modernist, playwright, filmmaker, resistance figure, and author of the original novel (1931); Vančura was murdered by the...
The Desired Objects of La Marge (1976) John Edmond May 2016 Cinémathèque Annotations on Film Issue 79 There are two elements of Walerian Borowczyk’s work more broadly that are useful in thinking about La Marge (1976). The first of these relates to Borowczyk’s interest in the particular presence of objects:...
The Contiguous World of Luchino Visconti’s The Leopard (1963) John Edmond February 2016 Cinémathèque Annotations on Film Issue 78 In the middle of The Leopard (Il Gattopardo 1963) there is a hunting trip. The ring of Sicilian cicadas. A rabbit is killed. A conversation takes place. Don Fabrizio (The Leopard himself The Prince of Salina,...
Miklós Jancsó’s The Confrontation (1969) John Edmond September 2015 Cinémathèque Annotations on Film Issue 76 Miklós Jancsó’s The Confrontation (Fényes szelek, 1969) opens with a four-minute shot. We see the back of Judit’s head as she (Andrea Drahota, red headed) watches a convoy of police arrive. At a...
