Blade Runner 2049 (UK/USA/Canada: Denis Villeneuve, 2017: 163 mins)
Aisenberg, Joseph. "I am Blade Runner 2049, Blade Runner 2049 is I." Bright Lights Film Journal (November 3, 2017)
Alpert, Robert. "A.I. at the Movies and the Second Coming." Senses of Cinema #88 (October 2018)
Booker, M. Keith. "Blade Runner 2049 (2017, Dir. Denis Villeneuve)." Comments on Culture (ND)
Desowitz, Bill. "Why Roger Deakins Should Win the Oscar for Bringing Realism to Blade Runner 2049." IndieWire (October 5, 2017)
"Dive Deeper into Blade Runner 2049 with Roger Deakins, ASC, BSC." American Cinematographer (March 5, 2018)
Engley, Ryan and Todd McGowan. "Blade Runner 2049." Why Theory (October 23, 2017) ["In this episode, Todd and Ryan discuss Denis Villeneuve's Blade Runner 2049. The conversation centers around how the film depicts ideology and what we mean when we say "ideology"; how the film conceives of desire ensuring subjectivity; and how the relationship between police and capital in the film exposes a link to how the two function in everyday life."]
Fox, Neil and Dario Linares. "Blade Runner 2049." The Cinematologists (October 18, 2017) ["With the original Blade Runner being a formative film for both Dario and Neil, they take the time to discuss the 2017 sequel directed by Denis Villeneuve: Blade Runner 2049. A lot has been said and written about this new incarnation, directly about the aesthetics, philosophical themes and narrative, but also regarding the wider ideological readings related to gender, race and class. We hope you enjoy our contribution to the discourse around a film which, if nothing else, reminds us of cinema's ability to provoke thought and exercise passion."]
Gerwig, Greta, et al. "63 Minute Directors Roundtable Talk." The Hollywood Reporter (Posted on Playlist: January 22, 2018) ["Angelina Jolie (“First They Killed My Father”), Patty Jenkins (“Wonder Woman”), Greta Gerwig (“Lady Bird”), Joe Wright (“Darkest Hour”), Guillermo del Toro (“The Shape of Water”), and Denis Villeneuve (“Blade Runner 2049”)."]
Jagernauth, Kevin. "Blade Runner 2049 Editor Talks Deleted Scenes You’ll Probably Never See." The Playlist (October 30, 2017)
Koski, Genvieve, et al. "Blade Runner 2049 (2017) / Blade Runner (1982), Part 1." The Next Picture Show #98 (October 17, 2017)
---. "Blade Runner 2049 (2017) / Blade Runner (1982), Part 2." The Next Picture Show #99 (October 19, 2017)
Laczkowski, Jim, et al. "Denis Villeneuve." The Director's Club #140 (December 17, 2017) ["Now Playing Network Master of Ceremonies (and Director's Club founder) Jim Laczkowski joins us for this episode which has us looking at the films of French Canadian filmmaker Denis Villeneuve! With Jim's help, we look at how Villeneuve brings his unique combination of thoughtfulness, pathos, family focus, and strangeness to dramas, genre thrillers, and films across the sci-fi spectrum. Includes lots of spiders and one talking fish."]
Like Stories of Old. "In Search of the Distinctively Human: The Philosophy of Blade Runner 2049." (Posted on Youtube: Jan 29, 2018) [Uses Ernest Becker's The Birth and Death of Meaning and Viktor Frankl's Man's Search for Meaning.]
Fox, Neil and Dario Linares. "Blade Runner 2049." The Cinematologists (October 18, 2017) ["With the original Blade Runner being a formative film for both Dario and Neil, they take the time to discuss the 2017 sequel directed by Denis Villeneuve: Blade Runner 2049. A lot has been said and written about this new incarnation, directly about the aesthetics, philosophical themes and narrative, but also regarding the wider ideological readings related to gender, race and class. We hope you enjoy our contribution to the discourse around a film which, if nothing else, reminds us of cinema's ability to provoke thought and exercise passion."]
Maher, Michael. "How Roger Deakins Shot and Lit Blade Runner 2049." The Beat (October 16, 2017)
Rosenberg, Alyssa. "‘Blade Runner 2049’ is about learning that you’re not the main character in your own story." The Washington Post (October 17, 2017)
Skiveren, Nicolai. "Cinematic Waesthetic: Wasted Worlds, Wasted Lives and Becoming-Waste in Contemporary Science Fiction Film." Revenant #10 (March 2024) ["This article explores the aesthetic, affective, and epistemological connections that bind together science fiction (SF) as a genre of cognitive estrangement, and the varied forms of waste that have come to permeate the genre’s filmic depictions of the future. Whether it be in the shadowy alleyways of Blade Runner 2049 (2017), the shantytowns of District 9 (2009), or the ravaged environments of Idiocracy (2006), waste is always there, lurking in the background, enveloping its human and nonhuman subjects with its elusive yet distinct atmosphere. And yet, it remains unclear what purpose(s), if any, waste might serve within these film-worlds. Because despite the seemingly central place that waste occupies in our cultural imaginaries of the future, no one has yet presented a systematic reflection on its affective, symbolic, and narrative significance. This article therefore brings together writings on ecological SF (Caravan 2014) and critical waste studies (Bauman 2004; Hawkins 2005; Viney 2014) to scrutinize the waste found across the above SF films. The article proposes that waste in contemporary SF film can be seen to operate mainly within three overlapping modes: ‘Wasted worlds,’ ‘Wasted lives,’ and ‘Becoming-waste.’ Drawing especially on Adrian Ivakhiv’s tripartite model for an eco-philosophy of the cinema, this article calls attention to the often subtle ways in which waste participates in (i) cinematic world-building, (ii) representations of otherness, and (iii) depictions of radical forms of change. Taken together, these three modes represent a suggestive image of how waste forms part of contemporary SF film."]
Werff, Tom Van Der. "The best thing about Blade Runner 2049 is what it isn’t." Vox (October 9, 2017)
---. "The Problem of Other Minds – How Cinema Explores Consciousness." (Posted on Youtube: May 31, 2018) ["How have films engaged the problem of other minds? In this video essay, I discuss cinematic explorations into consciousness in the context of the cognitive revolution that has challenged many of the basic assumptions about what was for a long time believed to be a uniquely human trait." Uses Frans de Waal's book Are We Smart Enough to Know How Smart Animals Are?: "Hailed as a classic, Are We Smart Enough to Know How Smart Animals Are? explores the oddities and complexities of animal cognition--in crows, dolphins, parrots, sheep, wasps, bats, chimpanzees, and bonobos--to reveal how smart animals really are, and how we've underestimated their abilities for too long. Did you know that octopuses use coconut shells as tools, that elephants classify humans by gender and language, and that there is a young male chimpanzee at Kyoto University whose flash memory puts that of humans to shame? Fascinating, entertaining, and deeply informed, de Waal's landmark work will convince you to rethink everything you thought you knew about animal--and human--intelligence."]
Fox, Neil and Dario Linares. "Blade Runner 2049." The Cinematologists (October 18, 2017) ["With the original Blade Runner being a formative film for both Dario and Neil, they take the time to discuss the 2017 sequel directed by Denis Villeneuve: Blade Runner 2049. A lot has been said and written about this new incarnation, directly about the aesthetics, philosophical themes and narrative, but also regarding the wider ideological readings related to gender, race and class. We hope you enjoy our contribution to the discourse around a film which, if nothing else, reminds us of cinema's ability to provoke thought and exercise passion."]
Skiveren, Nicolai. "Cinematic Waesthetic: Wasted Worlds, Wasted Lives and Becoming-Waste in Contemporary Science Fiction Film." Revenant #10 (March 2024) ["This article explores the aesthetic, affective, and epistemological connections that bind together science fiction (SF) as a genre of cognitive estrangement, and the varied forms of waste that have come to permeate the genre’s filmic depictions of the future. Whether it be in the shadowy alleyways of Blade Runner 2049 (2017), the shantytowns of District 9 (2009), or the ravaged environments of Idiocracy (2006), waste is always there, lurking in the background, enveloping its human and nonhuman subjects with its elusive yet distinct atmosphere. And yet, it remains unclear what purpose(s), if any, waste might serve within these film-worlds. Because despite the seemingly central place that waste occupies in our cultural imaginaries of the future, no one has yet presented a systematic reflection on its affective, symbolic, and narrative significance. This article therefore brings together writings on ecological SF (Caravan 2014) and critical waste studies (Bauman 2004; Hawkins 2005; Viney 2014) to scrutinize the waste found across the above SF films. The article proposes that waste in contemporary SF film can be seen to operate mainly within three overlapping modes: ‘Wasted worlds,’ ‘Wasted lives,’ and ‘Becoming-waste.’ Drawing especially on Adrian Ivakhiv’s tripartite model for an eco-philosophy of the cinema, this article calls attention to the often subtle ways in which waste participates in (i) cinematic world-building, (ii) representations of otherness, and (iii) depictions of radical forms of change. Taken together, these three modes represent a suggestive image of how waste forms part of contemporary SF film."]
StudioBinder. "Denis Villeneuve & His Cinema of Ambiguity — Directing Styles Explained." (Posted on Youtube: April 6, 2020) ["Denis Villeneuve movies are made to confuse you. At every opportunity — in the story, in the cinematography, editing, and music, Villeneuve wants to keep you guessing. Watching Denis Villeneuve movies is to be placed in an environment of uncertainty. And that’s what makes them so interesting. In films like Enemy, Prisoners, Polytechnique, Blade Runner 2049, and Arrival, Villeneuve consistently creates awe and wonder with images and sounds we’ve never seen before. In Enemy, Adam (Jake Gyllenhaal) must confront the possibility that he is more than a single person. In Sicario, Kate (Emily Blunt) is pushed into the world of drug cartels by a tight-lipped company man (Josh Brolin) and a near-silent assassin (Benicio Del Toro). In Prisoners, Keller (Hugh Jackman) ventures into murky moral territory to find his kidnapped daughter. In Arrival, Louise (Amy Adams) and Ian (Jeremy Renner) are tasked with bridging the communication gap between beings from another dimension. In all these movies, the characters find themselves in new worlds without answers. In this video, we’ve cracked the code on Villeneuve’s love of ambiguity and we explain how his directing style works across 7 areas of focus including sound, color, production design, and more. Villeneuve creates movies that can be enigmatic but there’s no denying that he is a film artist in complete control of his medium. If you’re studying directing, cinematography, editing, or pursuing ANY career in filmmaking, there are a ton of lessons to be learned from Denis Villeneuve. This is the ultimate breakdown of Denis Villeneuve’s directing style."]
No comments:
Post a Comment