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The problem with Cargo 200, in a sentence: it wants to maintain the shocking locus of the film as both a thematically coherent linchpin of events, characters, narrative strands, etc. and as a decidedly “meaningless,” shocking violence that cannot be articulated, grasped, or accounted for “finally” by the film in which it appears.
Accordingly, the literature [...]
After having established the “determinate functioning” and systematic appearance of the Cecafumo cityscape shot in relation to the narrative of Mamma Roma – “The shot is inserted each time Mamma Roma or Ettore begins or concludes a line of action meant to improve his or her social position” (116) – Rhodes now argues the opposite, [...]
While doing research on Tarkovsky’s film Stalker I came across this titillating Chicago Review article by Stan Brakhage (as told to Jennifer Dorn) that recounts their amusing encounter at the 1983 Telluride Film Festival.
Brakhage Meets Tarkovsky
Every Valentine’s Day, it seems, we are subjected to the same old top ten lists and gushing silver screen memorials to the greatest, most memorable kisses to light up the screen. Casablanca, Gone with the Wind, Titanic, and now Spiderman and Brokeback Mountain are the familiar finalists — but none, I think, compare to that of The [...]
David Kishik of Notes from the Coming Community (and author of Wittgenstein’s Form of Life) has up on his blog two music videos mashed-up by the video artist Kutiman (aka Israeli musician Ophir Kutiel).
But in what way, exactly, are Kutiman’s works mashups? The prevailing theories — Vague Terrain, Eduardo Navas, Remix Theory, the whole remix/copyleft movement [...]
Who knew that between his early run of physical comedies — What’s Up, Tiger Lily? (1966), Take the Money and Run (1969), Bananas (1971), Everything You Always Wanted to Know About Sex * But Were Afraid to Ask (1972), Sleeper (1973) — and his long run of New York dramatic comedies — beginning with Annie [...]
In a remarkable scene in the first season of The Wire, Det. Jimmy McNulty (Dominic West) follows “Stringer” (Idris Elba) the consigliere to what turns out to be an NYU macroeconomics course. It’s an astonishing discovery — for the viewer, of course, but also for McNulty. When he checks the placard on the door, he [...]
In a recent World Picture article entitled “The Obviousness of Cinema,” Rosalind Galt, Senior Lecturer in Film Studies at the University of Sussex and author of The New European Cinema: Redrawing the Map (Columbia UP, 2006), takes us on a thoughtful, encyclopedic tour of the [...]
Towards the end of his epic history of the concept of “milieu”, Leo Spitzer briefly goes over the origin of the closely-related English word, “environment” – which was coined, it turns out, by Thomas Carlyle in an article on Goethe, published in Miscellanies (1827).
And “what is particularly interesting is the fact that the lines in [...]
A post and discussion over at Sparkle*Matrix, entitled “‘even dead women can look sexy …’“, expresses the requisite horror and indignation over the America’s Next Top Model photo shoot where the contestants were tasked to simulate dead, but sexy, poses. Sparklematrix links to a slideshow matched with the judges’ comments, to swiftly expel any doubts [...]
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