the dream machine
lighting
editing
the essence of cinema
visibility for the cinematograph (light)
differentiation from theater (edit)
the dream machine/audience perception (sleep)
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2012
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February
(29)
- Lust for Gold (Dan Piţa and Mircea Veroiu, 1974)
- Screening Notes: King Lear (JLG, 1987)
- Justice; Pre-Code
- the academy
- A Dangerous Method (David Cronenberg, 2011)
- The Runner (Amir Naderi, 1985)
- Eleventh Year (Dziga Vertov, 1928)
- The Bitter Tears of Petra von Kant (Rainer Werner ...
- back to the roots
- Breakdown (Jonathan Mostow, 1997)
- Notes on Genre & Semiotics
- Metropia (Tarkik Saleh, 2009)
- Tinker Tailor Soldier Spy (Tomas Alfredson, 2011)
- Chronicle (Josh Trank, 2012)
- Offon (Scott Bartlett, made in 1967; released in 1...
- The Last House on the Left (Wes Craven, 1972)
- Identification of a Woman (Michelangelo Antonioni,...
- Cinema vs Video & Audience Perception
- Love/Not Love: Handmade Feminist Films
- Notes on Auteur Theory
- Haywire (Steven Soderbergh, 2011)
- Films seen in January
- Le Havre (Aki Kaurismäki, 2011)
- Notes on Christian Metz, Textuality, & You, the Li...
- Passing Fancy (Yasujirô Ozu, 1933)
- Ben Gazzara (1930 - 2012)
- Mission: Impossible - Ghost Protocol (Brad Bird, 2...
- Notes on Saussure, Structuralism & Genre
- Cinema
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February
(29)
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About Me
- pops baron
- Straub apologised for not being able to attend – and added, “Besides, I couldn’t have a good time at a festival where there are so many public and private police looking for a terrorist – the terrorist is me, and I tell you, paraphrasing Franco Fortini: as long as there’s American imperialist capitalism, there won’t be enough terrorists in the world.”
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