john-fidler
Anatomy of a Murder
In an interview with his fellow filmmaker Peter Bogdanovich, Otto Preminger speaks of the influence of the law on his life and work. Preminger’s father
Time Regained
“time is a fluid condition which has no existence except in the momentary avatars of individual people. There is no such thing as was –
Green Fish
Lee Chang-dong’s wrenching, tonally nuanced first film, Chorok mulkogi (Green Fish, 1997), packs a quiet wallop. By turns emotionally coercive, visually subtle, and as ruthless
The Apartment Plot: Urban Living in American Film and Popular Culture, 1945 to 1975 by Pamela Robertson Wojcik
In Billy Wilder’s hilariously acid The Fortune Cookie (1966), sports cameraman Harry Hinkle (Jack Lemmon) gets clobbered by football star Luther “Boom Boom” Jackson (Ron
The Tactile Eye: Touch and the Cinematic Experience by Jennifer M. Barker Moving Viewers: American Film and the Spectator’s Experience by Carl Plantinga
Towards the end of Pedro Almodóvar’s Broken Embraces (Los abrazos rotos, 2009) – his sad, playful, colour-saturated tribute to his own and so many others’
Irma Vep
With its rapid cuts, roaming camera, passel of characters (some of them so pitiful they seem always in need of a hug or maybe a swat
How to watch a movie: The Horse Who Drank the Sky: Film Experience Beyond Narrative and Theory by Murray Pomerance
WALDO PEPPER [Robert Redford]: Do you like movies? MARY BETH [Susan Sarandon]: Mmm-hmmm. – The Great Waldo Pepper (George Roy Hill, 1975) … perhaps one
La ronde
A recent roundup of prostitutes in a small town yielded a collection of mug shots of the women of the night. Looking at these empty,
Commissar
The only male soldier in Aleksandr Askoldov’s Commissar who shows up ready for a fight as the Russian Civil War lurches on is a child.
The Decline of Sentiment: American Film in the 1920s by Lea Jacobs
“I should have been a pair of ragged claws, scuttling across the floors of silent seas…” Too sentimental! – Boris (Woody Allen), as he throws
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