A demonstration of the critical value of statistical analysis.
Bresson's inimitable filmmaking style has its echo in his writing style.
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”.
Part two of Burnett's critical assessment of the Bressonian theoretical discourse.
Bresson may have been a cinematic iconoclast, but he remains a pivotal figure to the spirit that gave rise to the New Wave.
An in-depth review essay of three First Run Feature DVDs that deal with the Nazi, two documentaries, Architecture of Doom and The Eye of Vichy, and the fictional The Murderers Are Among Us.
Analysis of Canadian filmmaker Phil Hoffman's poetic treatment of autobiography and aesthetics in Passing Through/Torn Formations.
An ideological analysis of the form-content bias in Birth of a Nation (1915).
With Gus Van Sant currently on the hard road back to relevance - the gnomic, impressive achievement that was Gerry (2002) having been so closely followed by his Cannes triumph with Elephant (2003) - the time may be ripe to revisit one of his most eccentric and reviled (and very nearly forgotten) projects, his 1998 near-shot-for-shot remake of Alfred Hitchcock’s Psycho.
Gus Van Sant's re-appropriation of Hitchcock's classic is given another (close) look.
In this essay Garrett asks of himself: “What is a minor work of art, and what a major one? How do the perceptions about the social value of characters in film translate into one’s estimation of a film’s importance?” These are questions that occur when Garrett views two films focusing on Native Americans, Randy Redroad’s Haircuts Hurt and Norma Bailey’s Cowboys and Indians: The J.J. Harper Story, and then sees Denys Arcand’s The Barbarian Invasions.
Writer Daniel Garrett collectively analyzes a group of films released in Autumn 2003 in which we can see a “broadening of male sensibility”.
A thematic-based analysis of Shyamalan's narrative structure, with an emphasis on temporality.
Donato Totaro looks at Shyamalan's visual style in his extensive two-part analysis of Shyamalan's (The Sixth Sense, Unbreakable, Signs).
Donato Totaro looks at Shyamalan's visual style in his extensive two-part analysis of Shyamalan's 'trilogy' (The Sixth Sense, Unbreakable, Signs).