Tuesday, February 10, 2015

Resources for February 10, 2015

Wisniewski, Chris. "American Sniper." Reverse Shot (January 26, 2015)

Reality can no longer be apprehended by the 'naked eye' the truth hides in the shadows. A seemingly innocent photograph of two lovers in an empty park slowly yields -- a truth not previously apparent; a corpse. To reveal the dirty secret, three levels of created reality are necessary, all involved with vision: the (photographed) photographer; the picture he and we view; and the detail discovered only by the magnifying glass. (Discussing Antonioni's 1962 film Blow Out: 12) Vogel, Amos. Film as a Subversive Art Random House, 1974.

Vern. "American Sniper." Vern's Reviews on the Films of Cinema (January 26, 2015)

Antonioni's entire work projects visual metaphors of non-communication, alienation, solitude - and desperate attempts to break through to others. But man is overpowered by objects, structures, and the physical world; and people rarely face each other except in tension. (12) Vogel, Amos. Film as a Subversive Art NY: Random House, 1974.

Dargis, Manohla. "Lights, Camera, Taking Action: On Many Fronts, Women Are Fighting for Better Opportunity in Hollywood." The New York Times (January 25, 2015)

Sachs, Ben. "Blackhat isn't a failed action movie—it's a big-budget avant-garde film." Chicago Reader (January 27, 2015)

"Caché (Hidden) [2005] – Michael Haneke – the mechanisms of secrecy, amnesia and denial." Cutting on the Action (November 25, 2009)

"Moolaadé (Senegal/France/Burkina Faso/Cameroon/Morocco/Tunisia: Ousmane Sembene, 2004)." Dialogic Cinephilia (Ongoing Archive)

"American Sniper (USA: Clint Eastwood, 2014)." Dialogic Cinephilia (Ongoing Archive)

Schefer, Jean-Louis. "On La Jetée." Chris Marker (Passages de l’image. Exhibition catalogue, Centres Georges Pompidou, Paris, 1990.)

"Frederick Wiseman." Filmwax Radio (November 12, 2014)

No comments:

Post a Comment