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)
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