cutting on the action

photography and film – facts, ideas, values

FILM GODARD A Boute de Souffle – Footnotes to a film

Roland-Francois Lack on his blog The Cine-Tourist has done a fantastic post on A bout de souffle that he parenthesises ‘or rather, a trivialist’s slow crawl through it’s minutiae’.

A set design/costume design/location/ nerd’s delight.

Go to his home page for all his stuff.

The Cine-Tourist is a website about connections between maps and films, and about local cinema (also about early French and English cinema, and sometimes about photographs, and sometimes just about the Nouvelle Vague).
The Cine-Tourist only writes about places that he knows, and since he doesn’t travel much this site is chiefly about films made in Paris, Geneva and London (especially Muswell Hill, where he lives):

https://www.thecinetourist.net/a-bout-de-souffle-footnotes-to-the-film.html#

March 25, 2021 Posted by | Uncategorized | Leave a comment

FILM Béla Tarr’s Turin Horse

 

Destructive Complacency and the Call to Action of ‘The Turin Horse’

A short intro to a 17 video essay, “explains, the father and daughter’s repetitive purgatory is not a punishment. It’s a state of mind: a destructive complacency, best described by who else but Nietzsche himself.”

With it a reference list to other Bela Tarr video essays:

 

August 29, 2020 Posted by | Bela Tarr, Nietzsche, video essay | Leave a comment

FILM EDITING

Master Filmmakers on the Craft of Film

https://jonnyelwyn.co.uk/film-and-video-editing/master-filmmakers-on-the-craft-of-film-editing/

Not able to use the new version of WordPress yet, so the link will just have to be out there instead of embedded under the title, as they usually are.

This very good on editing as it has a set of videos with the some of the best around.

COTA has a collection of editing posts, both because I early on realised to write a script you really would need to know how it might end up and try to write accordingly. In a photographic analogy: framing in the camera.

June 21, 2020 Posted by | Uncategorized | | Leave a comment

FILM The Conversation




‘The Conversation’: A Brilliantly Composed Symbol of Watergate America




Cinephilia and Beyond Another longform form this wonderful film site. Please if you use it make a small contribution.


As an added treat a pdf of the screenplay, by Copploa, written in 1973, which is downloadable, but if you want it not to be popping up up as a webpage but as a file on your PC, make sure to save it as such.


The centre-piece is a facsimile of an interview in Filmmakers Newsletter, 1974, with with Brian De Palma and Coppola getting into the nitty-gitty of The Conversation’s conception and making. De Palma going on to make Blow Out in 1980, starring John Travolta.


NB. Coppola mentions Blow Up as an influence.


Also, for the real enthusiasts: Drew Morton’s video essay, Cross-Cut, looking at Blow Up [1960], The Conversation [1973] and Blow Out [1980], here embedded in this Indewire page with a short intro. It’s only 6 mins long, a true video essay made up of just video, doing the job of comparing and contrasting – film explaining film – not one of those video clip/slide-show type-thingummies with lecture tagged on. Though many of this type can be good, there is that thing about whether such a detailed lecture might be better as a separate essay/paper. That debate about video essays is probably still going on. Now the video essay, a well-thumbed subject in itself, has evolved a lot since the early days, with academics pouring over them in various ways.


If you know your three films well, and you’re into film-making, can’t fail to be impressed by Drew’s brilliant editing.


Before coming across Drew Morton’s essay when he first put it up, had myself spent inordinate amounts of time taking screen grabs of all three films, hoping to construct a slide show doing the same thing, lacking the wherewithall to do clips, again with no audio essay superimposed on the visuals. Having seen Drew’s, the idea was soon dropped, but mine would have gone into a lot more detail of all three films. Self-evidently video essays are not ideal for anyone who doesn’t know the film or films. And one of my pet hates, trailers giving awy too much information, even Drews sparse choice of clips would give too much away, in my extreme trailersist view.


A trailerist of course almost kicks in TV screens while shoutung, No, No, No! trying to stop it when the next episode of a series is laid out in such detail as to provide a clear impression of the whole plot, even if it’s a bit jumbled up.


Drew’s vimeo page shows he’s not been a slacker, producing many classy video essays.


Drew has put up earlier shorter versions of Cross-Cut, linked to below, which each have two intercut quotes, but no voice-over, which point to film essays and the video essay form, rather than directly to the three films.


As he puts in his comments on v .5:


“What began as “A poetic introduction to the fiction film as videographic criticism that seeks to illustrate the works of Raymond Bellour and Laura Mulvey through BLOW OUT, BLOW UP, and THE CONVERSATION” eventually became a more modest experiment in exploring the narrative, stylistic, and thematic connections between Michelangelo Antonioni’s BLOW-UP, Francis Ford Coppola’s THE CONVERSATION, and Brian De Palma’s BLOW OUT. This is the first – thumbnail – version.”


and v .75 :


“What began as “A poetic introduction to the fiction film as videographic criticism that seeks to illustrate the works of Raymond Bellour and Laura Mulvey through BLOW OUT, BLOW UP, and THE CONVERSATION” eventually became a more modest experiment in exploring the narrative, stylistic, and thematic connections between Michelangelo Antonioni’s BLOW-UP, Francis Ford Coppola’s THE CONVERSATION, and Brian De Palma’s BLOW OUT. This is the second version – made before the theoretical framing device was ultimately jettisoned.

Differences from Version .5: I realized that I needed to begin intercutting between the three films earlier to establish more of an aesthetic rhythm and conceptual dynamism. If I had stuck with the structure outlined in draft .5, I wouldn’t have introduced THE CONVERSATION until almost 2 minutes in (and BLOW OUT probably nearly three minutes). In short, it was becoming a piece dominated by discrete thirds without really doing much intellectually.”


CROSS-CUT (AKA Cinefilea, Version .5)


CROSS-CUT (AKA Cinefilea, Version .75)


And again for convenience, v. 1.0 :


CROSS-CUT



September 8, 2018 Posted by | Antonioni, Blow Out, Blow Up [1966], Coppola, De Palma, The Conversation [1974] | , , | Leave a comment

FILM DOCUMENTARY CHRIS MARKER PIERRE LHOMME The Lovely Month of May 1963










The Lovely Month of May


A documentary film by Chris Marker and Pierre LHomme, 1963



July 2, 2018 Posted by | film documentary | , | Leave a comment

PHOTOGRAPHER David Goldbatt 1930-2018










‘Colour was too sweet for apartheid’: the austere genius of David Goldblatt

~ The South African photographer, who died this week, caught apartheid’s grotesqueness without ever letting anger take over. His portrait of a place and a time is without equal in modern photography


South African photographer David Goldblatt dies aged 87

~ Documenting the racial divide during apartheid, he was credited with bringing a strong moral and ethical dimension to his work


David Goldblatt, the photographer who was South Africa’s conscience – in pictures


The big picture: Shop assistant, Orlando West, Soweto, 1972

~ David Goldblatt captures a defiant private moment in apartheid-era South Africa



June 28, 2018 Posted by | photographer, photography | , | Leave a comment

FILM Plariarism v homage








Imitation Game: The Difference between Homage and plagiarism


~ Homage is not a lesser form of filmmaking — let alone a form of theft — but a natural part of loving and making cinema.


Meg Shields, Film School Rejects 12 Feb 2018


“Either a filmmaker transparently deploys a reference, or a filmmaker knowingly passes off someone elses’s work as their own.”


Though of course this would not be such an interesting subject if it was that easy.

Shield notes ‘…Amelie director Jean-Pierre Jeunet accused del Toro of plagiarism. According to the French director, the sequence in The Shape of Water where Richard Jenkins and Sally Hawkins dance in unison while seated as an old musical number plays in the background was “[copy] and pasted” from Jeunet’s 1991’s art-house hit Delicatessen.’

But hold on a minute,


‘Shape of Water’ Hit With Plagiarism Allegations Following 13 Oscar Nominations


~ Paul Zindel’s son David says celebrated film is “obviously” based on late father’s play ‘Let Me Hear You Whisper’


Joyce Chen, Rollong Stone, 26 Jan 2018.


So this one alone is well-travelled:


Everything to Know About the Shape of Water Plagiarism Controversy


Eliza Berman, Time 3 March 2018


Film plagiarism accusations go way back, as have literary ones.


Any fule kno when accusations of plagiarism fly, it’s the writer not the director at the root of the problem, though when they do fly, it’s the investors and film production company that gets it in the neck. There are all sorts of cover-one’s-arses and insurances built into filmmaking, so maybe there’s one for plagiarism that thought it was homage.


My interest lies in how film writers are usually very knowledgeable about films. So many writers and writer-directors say they learnt their craft from obessively watching films from childhood. It’s part and parcel of films to refer to those that came before. Then there’s what you think to be some original storyline that disappointingly turns out to be close to something else as the writing progresses, which has to be ditched or turned into an artful homage.



June 3, 2018 Posted by | homage, plagarism | , | Leave a comment

FILM film vs digital





by kat2nist


by kar2nist [Shanti-Savera Ernakulam, India]


Analog/Digital Comparison: 35mm vs. Arri Alexa vs. Arri Alexa with added grain


Several short test videos in Vimeo


Generation Film

The rise of digital technology has meant tough times for people shooting on film, but against the odds, a new wave of filmmakers are turning to celluloid…



Film VS Digital | Video Essay



March 20, 2018 Posted by | celluloid, digital cinematography, film technique | | Leave a comment

TV DRAMA Frozen Sky 2011











Frozen Sky


All 4 – 90 min x 2 part German drama


Frozen Sky 2013



February 4, 2018 Posted by | Frozen Sky 2011, german tv | | Leave a comment

FILM pan and scan











Lawrence of Arabia, David Lean, 1962




Scorsese, Pollack, Mann & Hanson on How “Pan and Scan” Ruined Films for Decades


5′ video ~ short introduction


* Look out for Scorsese mentioning 4:3 increases the size of the frame and so reduces resolution.



November 27, 2017 Posted by | film technique, film [its techniques], pan and scan | , , | Leave a comment

The 15 Basic Elements to Know to Better Your Film’s Mise-en-Scene





Blade Runner 1982




The 15 Basic Elements to Know to Better Your Film’s Mise-en-Scene


Filmmaker Michael Hall of Shohawk, in Mentorless, filmmaking blog.


+ 15 diagrams. Who wants text when you have graphics? It’s a visual medium! Have a thing about mise-en-scene? Don’t even know what it is [but it’s in French and looks interesting..]? This is for you and you.


Michael has done another mise-en-scene:


7 Ways Mise-en-scene Will Make You a Better Filmmaker


which also includes the same 15 diagrams at the bottom.


Pinched the Blade Runner header from this post.



November 25, 2017 Posted by | film, film technique, film techniques, film-making | , | Leave a comment

FILM Ed Wood 1995









‘Ed Wood’: Tim Burton’s Beautiful Ode to a Fascinating Filmmaker, From One Outsider to Another


Cinephilia and Beyond


The ever magnificent C & B presents one of its majestic longforms on Tim Burton’s Ed Wood [1995]


Oozing with images and a handful of YouTubes. Plus a Q & A with Tim Burton


As usual the screenplay is embedded for reading in place, plus a downloadable pdf. If unfamiliar with their downloads, a click opens it in another web-page. But of course being a screenplay person, you want it on your HD. So, once downloaded, Go to File location, right mouse and and then open it with your pdf viewer. Save As [change the file name if you want to here] and Bob’s your uncle.


As I normally do, this screenplay is to be found in the right side bar under screenplays of which there is a small collection.


Other:


Cult films to see before you die: Ed Wood

James Oliver, Reader’s Digest


Of course the web is full of Ed wood reviews and essays – but just one extra for good luck.


The DVD can be found pretty cheap.



October 18, 2017 Posted by | Ed Wood [1995], Tim Burton | , , | Leave a comment

SCREENPLAY Christopher Nolan Screenplays










Christopher Nolan Screenplays


Inde Film Hustle, 13 Sept 2017


All downloadable pdfs, not dialogue transcripts


Dunkirk (2017)
Interstellar (2014)
The Dark Knight Rises (2012)
Inception (2010)
The Dark Knight (2008)
The Prestige (2006)
Batman Begins (2005)
Memento (2000)
Following (1998)
The keys of the Street (1997)



September 16, 2017 Posted by | Christopher Nolan, screenplay, screenwriting | , | Leave a comment

FILM ADAPTATION How not to adapt a novel










How NOT to Adapt a Novel

Christopher Osterndorf, The scriptlab, 7 Sept 2017


Well, it’s the title isn’t it? Buy the book and then find it’s nothing like you imagined between the covers.

Short but for me not so interesting – despite the tips – because the films discussed are not the sort of thing I would watch, but novel to film is something I return to again.

In any case who can resist films about writers trying adapt novels? Plenty? Oh, well they fascinate writers. And that’s what counts. Though of course we’re on writers adapting novels here. Whereas, what happens when the script gets into the hands of the production team is another matter.


OTHER


The Novel or the Film?


Siobhan Calafiore, The Artifice, 6 Feb 2014


Borrowed her header for my header.


Novel or film is what follows from film adaptation anyway so this is one to stimulate the juices on that topic.



September 12, 2017 Posted by | film adaptation | | Leave a comment

SCREENPLAY: The Myth of the Three-Act Structure








graphic from: A History Of The Three-Act Structure



The Myth Of The Three-Act Structure


Bill Mesce, at ShoreScripts


Chatty. Lot’s of examples.


Well, you’ve done a course or two, got the books, …and you can find as many of these things as there are actual script, but here’s two


Save the Baby! On the Benefits of the Three-Act Screenplay Structure


A History of Three-Act Structure




September 2, 2017 Posted by | 3-act structure | , , | Leave a comment

FILM sound










Having just completed an online film course which included doing some practical exercises on adding soundtrack, and coincidentally watching Takovsky’s The Sacrifice for the first time, it seemed a good time to collect together a few links to film sound. This is both how sound is used in film and films that have sound themes like Coppola’s The Conversation. The links centre on Coppola’s The Conversation and Tarkovsky’s The Sacrifice.

* Sound Upon Sound: The Conversation

Clair Norelli, PopOptiq, 10 Jan 2011

This is the work of Walter Murch editor and sound designer. Just re-watched it for about the 8th time and the more you watch it the more you see things, or see things you’ve had pointed out..

* “He’d Kill Us If He Had The Chance”: Coppola’s The Conversation and Film Sound

Post from Phillip Brophy, The Seventh Art, 11 Feb 2008

* The Conversation 1972 Francis Ford Coppola
– under the category of : Distortion and Misperception

He’s done a set of film sound posts on different sound themes, which can be found here:

* Historical Markers of the Modern Soundtrack

* Listening to The Conversation

David C Ryan, Identity Theory, 10 March 2012

An essay on The Conversation which does not deal how sound is used in the film, but here just the same.

* The Sound Film Man

FilmSound.0rg does Walter Murch

* With The Conversation, Walter Murch made the editor the author

Charles Bramesco, The Dissolve, 20 April 2015

Which links to other The Conversation posts and a forum discussion on The conversation’s “…sound, music, timing, and more.”

* The Power of Sound and Editing (The Conversation and Psycho)

Wael Khairy, The Cinephile Fix, 17 Nov 2009

* The Act of Listening #16: Tarkovsky and mystery

Rob Szeliga, Sound designer, 17 December 2016

* Sound in Tarkovsky’s Sacrifice

Interview with Owe Svensson, Swedish Sound mixer

Andrei Tarkovsky’s Musical offering: the law of quotation

Julia Shpinitskaya, Proceedings of the World Congress of International Association for Semiotics, 2014

* Essay by filmmaker Dimitar Kutmanov on how the use of sound creates narrative space

* Compositions of Crisis: Sound and Silence in the Films of Bergman and Tarkovsky
Phoebe Pua, August 2013

Thesis, 145 pp.

Abstract

This thesis examines seven films from the cinemas of Ingmar Bergman and Andrei
Tarkovsky—Bergman’s The Seventh Seal (1957), Through a Glass Darkly (1961),
Winter Light (1963), and The Silence (1963), and Tarkovsky’s Stalker (1979),
Nostalghia (1983), and The Sacrifice (1986).

These films were chosen as they represent the deepest periods of two directors’
engagements with the possible death of God and the subsequent loss of intrinsic
existential meaning—topics with which this thesis is principally concerned.

As a starting point, this thesis argues that the films present the silence of God as the primary indicator of God’s absence from the human world. Becoming aware of this silence thus causes one to interrogate religious certainties which have hitherto been taken to be timeless and true. This thesis then contends that, when faced with this silence and its implications, Bergman desperately sought evidence of God’s existence while Tarkovsky unyieldingly maintained an attitude of faith.

The directors’ progressions toward these contrasting positions are evident through the uses of sound elements in their films. As Bergman unsuccessfully pursued evidence of God’s existence, the soundscapes in his four films become increasingly minimal. The sparse use of sound reveals Bergman’s conception of a Godless void. On the other hand, metaphysical silence in Tarkovsky’s films was not perceived as emptiness. Instead, “silence” in his films was, paradoxically, often depicted through complex layers of sounds. Presented as manifestations of the metaphysical, the sounds of “silence” in Tarkovsky’s films consequently become affirmations of faith.

Through this sound-based approach to film analysis, this thesis sets out to explain why Bergman and Tarkovsky understood metaphysical silence so differently by examining how they portrayed literal silences.



July 16, 2017 Posted by | film sound | | Leave a comment

PHOTOGRAPHY topology meets typology










The Topography of Tears: A Stunning Aerial Tour of the Landscape of Human Emotion Through an Optical Microscope


~ From Blake to biochemistry, “proof that we cannot put our feelings in one place and our thoughts in another.”


* Maria Popova in Brainpickings takes a look at Rose-Lynn Fisher’s The Topography of Tears.


Does a photographic topology come under typology? Topology meets typology?


There are a couple of previous post on typology written when I first came across the subject in 2009: various links. The names to look out for are Karl Blossfedt and Bernd and Hilla Becher, mentioned in Typology {1} Links to their work in there.



July 15, 2017 Posted by | topology | , , | Leave a comment

FILM The Conversation 1974










The Conversation looked ahead to a world without privacy


Scott Tobias, The Disolve, 21 April 2015


Forum: The Conversation


Keith Phipps and Nathan Rabin, The Dissolve, 21 April 2015


Why The Conversation Should Be Required Viewing at the NSA


~ Francis Ford Coppola’s psychological thriller, which turns 40 today, may be the best exploration of the dangers of surveillance that pop culture has ever produced.


Alexander Huls, The Atlantic, 7 April 2014



March 22, 2017 Posted by | Coppola, surveillance cinema, The Conversation | , , | Leave a comment

FILM Fellini La Dolce Vita 1960



film-antonioni-la-dolce-vita-beach-1




La Dolce Vita

The Magic Widow 6 November 2015 ~ film blog by Kristoffer T notable for the quality film stills


the cinematography of la Dolce vita: that’s deep, man

Brandon W. Irvines’ Underplex film blog, 20 June 2013 ~ always plenty of stills


La Dolce Vita: Lessons not learned

Kate Fitzpatrick, Brattle Theatre Film Notes, 24 June 2103


Search Brattle for other La Dolce Vita posts.



February 26, 2017 Posted by | Antonioni, film, film directors, La Dolce Vita [1960] | , | Leave a comment

FILM Tableau shot





film-tableau-grand-budapest-hotel




The Power of the Tableau Shot


David Goodman, The Beat, 30 November 2015


David Bordwell discusses tableau in these posts starting at the top with Murnau before NOSFERATU


Bit confusing because he doesn’t just use headings tableau or tableau vivant but persevere and it all become clear and where the links are.


Came back to this by accident when this interesting clip from an Estonian film by Martti Helde, In the Crosswind [2014] came into view.


wiki: In the Crosswind


Distributor Pluto Films for all the details


In the Crosswind
8′ 58″


In the Crosswind
1′ 40″ trailer


Risttuules (In the Crosswind) – Through the window
7′ 15″


Risttuules (In the Crosswind) – Winter photo (letter)
5′ 18″ ~ YouTube captions kept just to distinguish the links.



February 26, 2017 Posted by | Estonian films, In the Crosswind [2014], Martti Helde, tableau shot, Tableau vivant | , , , , | Leave a comment