cutting on the action

photography and film – facts, ideas, values

FILM NON-FICTION Werner Herzog





Herzogs-sleepy-yet-piercing-glare




Came across some of these Herzog documentaries before but reappeared in a surf on something not that related purely serendipitously:

Mein liebster Feind – Klaus Kinski

Notes:  wiki: my best Fiend

Little Dieter Needs To Fly

Notes: Wiki: Dieter Dengler

notes: wiki: Little Dieter needs to Fly

Extract from Denglaers’ Escape from Laos


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There is no doubt a personality disorder called STBOS -BWNTBSTMTACAU*: I need to say about Herzog’s non-fiction that he films it in feature film style, which is in sharp contrast to the default style coming from cinema direct/cinema verite tradition. Even his colouration and mis-en-scene is big-filmic. This has a strange but satisfying effect, a kind of equivalent visual effect to the aspects of the contrapuntal in music.

With this in mind, I am a little bit disappointed with some of the music he uses, particularly in films like Lessons in Darkness. Though music can be used to almost poke fun at the cinematic. In the oily-boy story – which is as riveting as any he has made – the music is what can only call kitsch because of its relation to the visual: that is, it is not kitsch in and of itself, but becomes so when associated with the particular visuals he uses. I would be prepared to argue this one! But it does need a sort of reply that includes the details in shot (moment-by-moment) specific film terms to explain why my opinion is wrong.

The music in Dieter does work very well unlike that in Lesson in Darkness. One is reminded of Dr.Strangelove: I can’t give chapter and verse right now, but will add to this post when I re-look at some extracts of the Kubrick.

Even if one can see where Herzog is going with all the heavy music with its deeply ironic tone, it is not as one-to-one as one might think on first seeing/hearing the film. There are many layers to the symbiosis between the music and cinematography in Lost. Repeated watching highlights subtler colours within the, at first, seemingly bleeding obvious purpose to this particular set of sound backdrops.


STBOS-BWNTBSTMTACAU* = Stating The Bleeding Obvious – But Wot needs To Be Said To Make Things Absolutely Unambiguous





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May 7, 2009 Posted by | film analysis, Film and psychoanalysis, film directors, film editing, film music, film narrative, film theory, film [its techniques], free cinema, Kubrick, Music, narrative style, Werner Herzog | , , , | Leave a comment

FILM BLOG The Seventh Art



Srikanth‘s Film blog The Seventh Art is is a good film blog by a film enthusiast, and ought to be highlighted.

The world cinema page tabulates films he has written about, and is where I would recommend you look for writing by him on film.



April 15, 2009 Posted by | film analysis, Film and psychoanalysis, film directors, film editing, film narrative, film theory, film [its techniques] | Leave a comment

FILM Showing what can’t be filmed {post by David Borwell}



From Film Studies For Free:

Observations on film and Film Art: showing what can’t be filmed.

David Borwell, 4 March 2009, on David Borwell’s website on cinema.



March 22, 2009 Posted by | André Bazin, Bazin, cinéma-vérité, film analysis, Film and psychoanalysis, film directors, film editing, film narrative, film theory, film [its techniques] | , , , , , , , , , , , | Leave a comment

FILM music



I’ve chosen these four from Film Studies for Free‘s selection of music and film related essays and books.

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What The Sound Is Saying

What the music is saying in Bertolucci

from Bright Lights

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The Sound of Sentiment: Popular Music, Film, and Emotion
by
Murray Smith

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Music in Films: A Critical review of Literature, 1980-1996

{pdf}

by

Robynn J. Stilwell

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Film Music and Narrative Agency pp. 248-82, Ch. 12 of

Post-theory: Reconstructing Film Studies editied by David Bordwell and Noel Carroll.

by

Jerrold Levinson

which looks pretty o.k. as a whole.

Missing pages in this review:

252-53

259-60

273-74

279

281

The last two are in the end notes.




March 17, 2009 Posted by | David Bordwell, film analysis, Film and psychoanalysis, film directors, film narrative, film theory, film [its techniques], Noel Carroll | , | Leave a comment

FILM Psychoanalysis and Cinema



Another GoogleBook. The introduction and the first two chapters of Endless Night by Janet Bergstrom are pretty much intact.

A Review by Joan Hawkins helps to explain what the book is about. The title should give it away but if, like me, you aren’t much wiser you need a little more help.



March 10, 2009 Posted by | film analysis, Film and psychoanalysis, film directors, film theory, film [its techniques] | | Leave a comment