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Los Angeles Plays Itself: Paul Thomas Anderson’s Inherent Vice

Los Angeles Plays Itself: Paul Thomas Anderson’s Inherent Vice | Cinema Vortex | Scoop.it
With Paul Thomas Anderson’s auteur standing complementing Thomas Pynchon’s literary eminence and pop culture savvy, Inherent Vice (2014) promises to be a cinephile’s dream. Set against the backdrop of the Nixon Presidency and Ronald Reagan’s term as Governor of California in 1970, the film pivots on a moment in time when the counterculture curdled. While…
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Close to the Edit | gorse

Close to the Edit | gorse | Cinema Vortex | Scoop.it
Close to the Edit
Cinema Vortex's insight:

Close to the Edit The films of Nicolas Roeg by Richard Kovitch.

 

 ‘The motion picture is still such a magical and mysterious combination of reality, art, science and the supernatural—as well as the gateway to the nature of Time, and perhaps even the first clue in solving the puzzle of what we’re doing here on this world.’– Nicolas Roeg

Born the 15th August 1928, director Nicolas Roeg has been alive almost as long as cinema has mixed sound and vision to such hypnotic effect. His career began amidst the austere gloom of post-war Britain. ‘In those days getting a job at a studio was like getting a job in a factory,’ he notes in his memoir The World Is Ever Changing. This was an era before film schools and theory influenced the medium. Work fixated upon the industrial; the application of machinery and technical knowledge to document stories. But it was from learning this trade, by immersing himself in the industry’s conventions, that Roeg would come to challenge the methods of working, and from there ‘the art grew.’

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ADIEU AU LANGAGE: 2 + 2 x 3D - David Bordwell

ADIEU AU LANGAGE: 2 + 2 x 3D - David Bordwell | Cinema Vortex | Scoop.it
Cinema Vortex's insight:

"Godard’s Adieu au Langage is the best new film I’ve seen this year, and the best 3D film I’ve ever seen. As a Godardolater for fifty years, I’m biased, of course. And I might feel that I have to justify taking a train from Brussels to Paris to watch it (twice). But the film seems to me superb, and it gets better after several more (2D) viewings.

 

People complain that Godard’s movies are hard to understand. That’s true. I think they provide two different sorts of difficulty. He lards his dialogue and intertitles with so many abstract (some would say pretentious) thoughts, quotations, and puns that we’re tempted to ask what he is implying about us and our world. That is, he poses problems of interpretation—taking that to teasing out general meanings. What is he saying?

 

I think that this type of difficulty is well worth tackling, and critics haven’t been slow to do it. Scholars have diligently tracked the sources of this image or that barely-heard phrase. Adieu au langage provides another field day; there are movie clips, some quite obscure, and citations (maybe some made-up ones) to thinkers from Plato and Sartre to Luc Ferry and A. E. van Vogt."

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William Rothman's Vertigo | Butler | Film-Philosophy

William Rothman's Vertigo
Cinema Vortex's insight:

This article examines William Rothman’s recent essay on Vertigo, ‘Scottie’s Dream, Judy’s Plan, Madeleine’s Revenge’, and particularly his suggestion that in a crucial scene towards the end of the film the character Judy deliberately puts on jewellery in order that Scottie becomes aware that she was the actress who played Madeleine. We look at why Rothman was previously unable to see this in the film, why Judy is unable DIRECTLY to tell Scottie and why for Rothman a deep truth of the film (and of film in general) is this inability of Judy to tell Scottie. In order to address these issues, this article  looks at art historian Michael Fried’s notion of “absorption”, and particularly that interpretation of it offered by Lacanian cultural theorist Joan Copjec in ‘The Invention of Crying and the Antitheatrics of the Act’ in her collection Imagine There’s No Woman: Ethics and Sublimation.

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The Interventions of Jean-Luc Godard and Chris Marker into Contemporary Visual Art By David Brancaleone

The Interventions of Jean-Luc Godard and Chris Marker into Contemporary Visual Art By David Brancaleone | Cinema Vortex | Scoop.it
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Abigail Child

This is "Abigail Child" by Colectivo ARKHÉ on Vimeo, the home for high quality videos and the people who love them.
Cinema Vortex's insight:

Abigail Child on investigating moving images for their deeper meaning

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A Future to Want

A Future to Want | Cinema Vortex | Scoop.it
I am too young to have ever known an avant-garde with a future. The 10 years during which I have paid serious attention to experimental film have unfolded as an extended funeral procession after the death of cinema.
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Why 'Moana,' the First Docufiction in History, Deserves a New Life

Why 'Moana,' the First Docufiction in History, Deserves a New Life | Cinema Vortex | Scoop.it
Almost a century after its production, Robert Flaherty's startling portrait of Samoan islanders receives a much-needed restoration.
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The Successful Fascism of Paul Verhoeven’s Starship Troopers « The Hooded Utilitarian

The Successful Fascism of Paul Verhoeven’s Starship Troopers « The Hooded Utilitarian | Cinema Vortex | Scoop.it
Cinema Vortex's insight:

"Paul Verhoeven’s reputation as a visionary director took quite a hit after his 1995 Showgirls, and the release of Starship Troopers in 1997 only damaged it further. But twenty years have passed and the fickle tides of critical revilement have begun to turn. Adam Nayman’s new monograph on Showgirls, It Doesn’t Suck, argues, well, that Showgirls does not in fact suck. Meanwhile, at the Atlantic, Calum Marsh has been encouraging critics and fans to reexamine Verhoeven’s Starship Troopers, pointing out that, contrary to what many critics previously thought, the movie “is satire, a ruthlessly funny and keenly self-aware sendup of right-wing militarism.” I’m all for critical reassessments. I think they can add much to our understanding of a work of art. But these particular reassessments fail to account for what was actually wrong with Verhoeven’s later American filmography. They fail to see that just because a movie imitates a terrible movie perfectly doesn’t make it satire – it just makes it a self-aware terrible movie."

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dancing with one another - The arts of Harmony Korine

dancing with one another - The arts of Harmony Korine | Cinema Vortex | Scoop.it

Harmony Korine, filmmaker, painter, novelist and screenwriter, likes it when things go wrong. The world being what it is, that often happens on its own, but when necessary he is not averse to throwing a metaphoric grenade into the middle of his film set as a way of shaking things up. It is a method he calls “Mistakist” and it remains his most valued aesthetic principle. Whether directing a film, making a painting or writing a novel, his impulse is to look for a way to confuse the process. “I like not always having an endpoint and getting lost and trying to dig my way out of it,” he says in the following interview. “It has to do with this alchemical idea of putting different elements into a glass and documenting the explosion. There is a strange poetry to it.”

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John Flaus on Melville: Le Samouraï

John Flaus on Melville: Le Samouraï | Cinema Vortex | Scoop.it
Cinema Vortex's insight:

Originally published in Cinema Papers no. 1, January 1974, pp. 56-7

 

"Le Samouraï (The Godson, 1967), the tenth of Jean-Pierre Melville’s twelve [thirteen] features since 1947, first entered Australia in 1969. Apart from a couple of screenings in a French showcase at Sydney’s Ascot Theatre, this masterpiece of almost seven years’ standing still awaits commercial release."

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Vertigo and the Spectator of Film Analysis | Klevan | Film-Philosophy

Vertigo and the Spectator of Film Analysis
Cinema Vortex's insight:

"Alfred Hitchcock's Vertigo skilfully CONTINUES to stimulate different views of it – hence the volume of writing – different ways of viewing it, different ways of being a viewer of it (even if these views overlap or are complementary). One purpose of the piece is to provide a little caution to those students coming to study Vertigo, and Spectatorship, for the first time: not to presume that the film, and by association any film, has one type of spectator. It is through examining various responses to it – rather than presenting one view of it – that we can see perspicaciously that Vertigo has a special capacity for teaching us about the complexity of film spectatorship. This is possibly because Vertigo is so concerned to make the act of viewing an active part of viewing it."


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Beginnings: Harun Farocki, 1944–2014 | e-flux

Beginnings: Harun Farocki, 1944–2014 | e-flux | Cinema Vortex | Scoop.it
Cinema Vortex's insight:

"Harun Farocki’s legendary works—as filmmaker, writer, and organizer—are full of exemplary beginnings. From agitprop shorts to film essays and beyond. From didactic fiction to cinema verité. From single channel to multi-screen. From Kodak to .avi, from Mao to mashup. From silent films to hyperventilating talkies. From close reading to distanced comment. From interview to intervention, from collaboration to corroboration. On July 30, Harun Farocki died."

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BAMcinématek Shows a ‘Chris Marker’ Retrospective

BAMcinématek Shows a ‘Chris Marker’ Retrospective | Cinema Vortex | Scoop.it
Chris Marker’s movies are the work of a poet and collagist and slightly obsessive philosopher.
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Harun Farocki - Arbeiter verlassen di Fabrik (Workers leaving the factory) 1995

By kind permission of Harun Farocki Film Produktion. Screened as part of Open File, Pavilion Screening 23/11/11, Grand Union November 23rd 2011
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Harun Farocki, 1944 – 2014

Harun Farocki, 1944 – 2014 | Cinema Vortex | Scoop.it
"Central to his work is the insight that with the advent of the cinema, the world has become visible in a radically new way."
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Revisiting a Master of Found Footage

Revisiting a Master of Found Footage | Cinema Vortex | Scoop.it
A known face at film archives around the world, Austrian filmmaker and architect Gustav Deutsch is one of found footage’s most astute and assiduous artists.
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On “Artists’ Cinema” and “Moving-Image Art”

On “Artists’ Cinema” and “Moving-Image Art” | Cinema Vortex | Scoop.it
I was asked to write about the present and future of “artists’ cinema” and “moving-image art.” This language conflates two traditions that I still have a stake in separating: experimental film and (gallery/museum) video art.
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Compilation and Found-Footage Traditions | [in]Transition

Cinema Vortex's insight:

"On the Compilation and Found-Footage Film Traditions of the Video Essay.."

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