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Gilles Deleuze’s Bergsonian Film Project : Part 1
In his second book Deleuze tackles temporality in a more direct fashion. Although the book is considerably longer than the first (344 to 250 pages), Deleuze does not propose rigid or neat classifications. The central shift remains from a cinema that defined itself primarily through motion to one that concerned itself more directly with time. The time-image moved beyond motion by freeing itself of the sensory-motor link to a pure optical and sound (tactile) image.
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Gilles Deleuze’s Bergsonian Film Project : Part 2
In his second book Deleuze tackles temporality in a more direct fashion. Although the book is considerably longer than the first (344 to 250 pages), Deleuze does not propose rigid or neat classifications. The central shift remains from a cinema that defined itself primarily through motion to one that concerned itself more directly with time. The time-image moved beyond motion by freeing itself of the sensory-motor link to a pure optical and sound (tactile) image.
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Birth From Above
As part of his method he becomes one of the combatants or performers, knowing that each scene will present a different battle. If each new video is born from this type of process then Cumming is not only the field commander but a soldier as well.
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May 1968 and After: Cinema in France and Beyond, part 2
Following up on Part 1 by looking at the effects of May 1968 on filmmakers outside of France, concentrating on Michelangelo Antonioni.
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May 1968 and After: Cinema in France and Beyond, part 1
May 1998 marks the 30th anniversary of the student riots and subsequent strikes that took hold of France from mid-May to June 5, 1968. The disturbances and events that led to the uprising are well chronicled.
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History and Time as a Fork in the Square
Bernardo Bertolucci's The Spider's Stratagem is a wonderfully audacious treatment of the paradoxes of history, truth, and temporality.
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A Bergsonian Personal Journey into History
The following essay will demonstrate how The Puppetmaster is one of the purest Bergsonian films ever made.
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The Contemporary Dopplegänger
“The film image is an alienated reflection -an imitation of life perilously similar to the original.”
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50 (non-Palme d’Or) winning films
“I have selected fifty films that are my choices for the best films to have competed at Cannes.”
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Korean Cinema in Montreal
The first Korean film I saw was Im Kwon-Taek’s Adada (1987) at Montreal’s World Film Festival in August, 1988. But, with virtually no coverage of Korean cinema in the English language, nothing had led me to expect that Adada would be such an interesting work, thematically, stylistically, and in its narrative content.
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Two Films by Shin Sang-Ok
Having seen only three of the 60 plus films directed by Sang-Ok it may be premature to start tossing out superlatives, but his films seen at the recent Cinematheque Canada’s (CCA) Three Korean Master Filmmakers series represent one of the major international cinema revelations of recent years.
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asian-hot
There is no doubt about it, Asian cinema is hot, hotter and hottest on the International film circuit. Montreal, always on the vanguard where foreign film is concerned, has caught the bug.
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The Last Temptation of Travis Bickle
Today, Martin Scorsese is considered by the majority of film critics as the greatest living American director. In a survey done in the early nineties, Raging Bull was elected as the best American film of the eighties.
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Independent Horror Cinema
During the Hollywood Studio period (roughly 1920 to 1950), the demarcation line between the majors and the independents was quite clear. The majors, the “Big Five” (Warners, MGM, RKO, Paramount, Fox) and “Little Three” (Columbia, Universal, United).
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