cutting on the action

photography and film – facts, ideas, values

Film : review Truffaut “Day for Night”



Day for Night (1973)

from MovieDivia

Confusion between fiction and reality is the film’s subject. Day for Night is also a record of Truffaut’s directorial method; “I made Day for Night like a documentary, and there is very little difference between the shooting I show and that of my films.” The abandoned set of an American film, The Madwoman of Chaillot, inspired him to stage his own film within a film there, albeit on a more luxurious scale than that to which he was accustomed. “…my intent was to make the audience happy on seeing a film in the making, to infuse joy and lightheartedness from all the sprocket holes of the film, ‘Moi, jaime le cinema.'”



Day for Night by Brian Hoyle (Senses of Cinema)

Truffaut’s trifle in Day for Night by Marjorie Rosen (Jump Cut)

January 11, 2009 Posted by | film directors, film [its techniques] | | Leave a comment

Film: comparison of literature with film



Present(ing) Tense: Temporality and Tense in Comparative Theories of Literature-Film Adaptation

Sarah Cardwell



January 11, 2009 Posted by | film [its techniques], Literature | Leave a comment

FILM ESSAY: After the death of film – writing the natural world in the digital age



After the eath of Film: Writing the natural world in the digital age

by

Tess Takahashi

This essay argues that the North American cinematic avant-garde’s interest in celluloid film’s materiality goes to the heart of our culture’s current anxiety about the digital ability to seamlessly transcode, endlessly reproduce and recklessly disseminate images of all stripes. It traces the ways in which celluloid film’s capacity for registering the marks made by the artist’s hand, natural elements and accidents function as writing in the work of filmmakers Greta Snider, David Gatten, Lynn Kirby among others.




January 11, 2009 Posted by | film analysis, film directors, film editing, film theory, film [its techniques] | | Leave a comment

FILM BOOK: The Evolution of Film by Janet Harbord



The Evolution of Film By Janet Harbord

How is film changing? What does it do, and what do we do with it? This book examines the reasons why we should be studying film in the twenty-first century, connecting debates from philosophy, anthropology and new media with historical concerns of film studies.When the common frameworks for studying film – the nation, identity, representation, Hollywood industry – have ceased to yield explanatory power, how do we conceive of film’s doings? In this fresh and innovative book, Janet Harbord argues that film no longer represents or stands in for particular cultures, but acts isomorphically, showing us how the world works. Film here is action, energy, matter, moving across space to forge connections, provide encounters, and create schisms in our knowledge of others. The book brings together key thinkers of the contemporary in an innovative exchange between film and theory. Marc Auge’s concept of ‘non-place’ is brought to bear on, and disrupt, the category of national cinema. Manuel DeLanda’s notion of morphogenesis frames an understanding of film as a process of constant evolution, in which the terms of change are immanent to matter itself. And the concept of inertia, from Paul Virilio’s work, allows us to comprehend the different energies of film. Arguing that there is no higher position from which to view the present, either in theory or in film, we move blindly and yet with faith, discovering the present frame by frame. Liquid Film demonstrates how this is an intangible yet critical medium in the contemporary, mediating relationships to place, technology and thought itself.Liquid Film will be essential reading for students and scholars of film at all levels.




January 11, 2009 Posted by | film analysis, film directors, film editing, film theory, film [its techniques] | Leave a comment

FILM BOOK: Realism and ‘reality’ in Film and Media



Realism and ‘reality’ in Film and Media
By Anne Jerslev

Eleven articles by Danish, British, and American film and media researchers focus on two sub-themes: ‘Film and Realism’ deals theoretically with film realism and analyses classic films and modern Danish Dogma films; ‘Documentary Forms, Reality TV and New Media’ treats new forms of non-fiction film, TV and on the internet in a both theoretical and historical perspective.




January 11, 2009 Posted by | film analysis, film directors, film editing, film theory, film [its techniques] | Leave a comment