ISSN 1717-9559
Keyword : Film Style
1.
Relying on secondary sources and an in-depth formal analysis, author Richard Wallace takes a plunge into defining the ineffable: the Lubitsch Touch.
3.
An analysis of Terence Malick's phenomenological-influenced approach to cinematic objects, an approach which expands our conception of 'film realism' and certain formal codes of film language (like point of view).
4.
A structural analysis of film noir openings. Part 2.
5.
A structural analysis of film noir openings. Part 1.
6.
A comparative analysis between the styles of Robert Bresson and Sergio Leone.
7.
An analysis of how cinematic 'space' can include geographical, physical properties of city landscapes, with a special emphasis on how Los Angeles informs the meaning of Fight Club and Collateral, and Athens in Delivery.
8.
A report on the 2006 installment of the Vancouver International Film Festival, sorting out what author Archibald feels is the ossification of a common arthouse aesthetic.
9.
An exploration of the wild and diverse world of internet cinema, including films made specifically for the internet and those which find a second home (and wind) on the WWW.
10.
Professor Paul Salmon reviews the Criterion Collection release of Powell and Pressburger's influential cinematic opera piece, The Tales of Hoffman.
11.
An analysis of how Jane Campion negotiates the conventions of the sex-noir thriller with more auteurist designs exploring female sexual desire and 'art film' aesthetics.
12.
A theoretical analysis of the value of Gus Van Sant's Psycho.
13.
A report on La Cinémathèque's major retrospective of the works of Malaysian-born Taiwanese director Tsai Ming-liang.
14.
An analysis of Sontag's infamous later essay lamenting the death of cinephilia.
15.
Re-evaluation of Sontag's seminal essay “Against Interpretation”.
16.
An intriguing look back at the on-set experiences of Jonathan Hourigan.
18.
A demonstration of the critical value of statistical analysis.
19.
The future finally looks bright for Bresson DVD enthusiasts. Burnett examines the follow-up Criterion Bresson release.
20.
Bresson's inimitable filmmaking style has its echo in his writing style.
21.
A two-part assessment of the critical discourse surrounding one of cinema's hallowed names, Bresson. Burnett concentrates much of his discussion on the unfortunately polarized views that are continually circulated concerning Bresson's cinematic-philosophical position as “Transcenendalist” or “Materialist”.
22.
Part two of Burnett's critical assessment of the Bressonian theoretical discourse.
23.
The future finally looks bright for Bresson DVD enthusiasts. Burnett examines the first Criterion Bresson release.
24.
A look at a documentary account of the life and art of one of cinema's greatest cinematographers, Sven Nykvist.
25.
Donato Totaro looks at Shyamalan's visual style in his extensive two-part analysis of Shyamalan's (The Sixth Sense, Unbreakable, Signs).
26.
Donato Totaro looks at Shyamalan's visual style in his extensive two-part analysis of Shyamalan's 'trilogy' (The Sixth Sense, Unbreakable, Signs).
27.
Part two of Menard's theoretical explication of classical film theory.
28.
This two-part paper uses Orson Welles The Trial (1963) as a model to explicate Brian Henderson's long take theory. Instead of arguing for or against Henderson's critical standpoint, it uses its classification scheme as a basis for a more thorough understanding of the theoretical gap that exists between the two institutional pillars of cinema, the exclusive theories of Sergei Eisenstein and Andre Bazin.
29.
The first of a two-part essay on one of cinema's still greatest thinkers and writers.
30.
Part two of Younger's model analysis of the Bazinian discourse.
31.
Younger presents an involved argumentation and defense of Bazin the critic, theorist, and historian par excellence. Far from the often perceived view of Bazin as an inconsistent or politically niave' writer, Younger presents a Bazin relevant and vital for the ages.Part two of Younger's model analysis of the Bazinian discourse.
32.
For most film scholars Bazin was a man of many (incompatible) hats. Bazinian scholar Younger rethinks Bazin the Critic and Bazin the Theorist to argue otherwise.
33.
The second of a two-part essay on one of cinema's still greatest thinkers and writers.
34.
Author John Fucile's exploration and research in the Circadian Cinema model explored below has inspired two short digital films which he produced, directed, and co-wrote with Simon Fraser entitled Beat the Blue, which to date has been screened at festivals in New York, Oregon, Colorado, Massachusetts, Florida and California; and his most recent digital short, the wide-screen motion picture Zero.
37.
The first of a two-parter.
38.
Rist discusses why he thinks Gerry signals a strong return to form for Van Sant.
39.
Totaro explores how certain styles of filmmaking (montage vs. long take style) may be used to activate different cognitive states ('intellect' versus 'emotion').
40.
A review which tries to capture the unique experience which is Béla Tarr’s Sátántangó.
41.
An in-depth analysis of an overlooked silent film classic by Russian emigré Dimitri Kirsanov.
42.
Orson Welles has been on record as saying that The Trial (1962) was the favorite of his films. Perhaps this is because it was the first film since Citizen Kane to be released precisely as he had intended, without any studio imposed changes and interference.
44.
Bernardo Bertolucci's The Spider's Stratagem is a wonderfully audacious treatment of the paradoxes of history, truth, and temporality.
45.
The following essay will demonstrate how The Puppetmaster is one of the purest Bergsonian films ever made.
46.
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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