cutting on the action

photography and film – facts, ideas, values



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


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

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

Concentrating on Kieslowski: some more links

Some of these are probably linked to already in other posts. A duplicate link does no harm in a fascinating subject!

For Sinners and Cinephiles, Kieslowski’s Ten 60-Minute Films

Krzysztof Kieslowski Doug Cummings in senses of cinema

several of the links at the bottom of this page are dead.

Conversation on Kieslowski with Annette Insdorf

Columbia University Record 12 Nov. 1999


A Short Film about Love – Krzysztof Kieslowski

A film student essay 1991.  Author: not sure.

Requiem for Kieslowski David Winner  1999 includes Zbigniew Preisner and Krzysztof Wierzbicki on Kieslowski.

Some of KK’s own thoughts on film. These, though brief, explain a lot. The nub of kieslwski is here in a few simple, intelligible words.

KW pops up in the audience Lodz amateur film competition in Camera Buff to ask a question of director Krzyszstof Zanussi who is on the panel. It is not clear if WW is playing himself or a character in the movie…

December 18, 2008 Posted by | film analysis, film directors, film theory, film [its techniques] | , , , , , , | Leave a comment