essays about films
in to Film When is the last time that we as an audience watched a film without sound? What if the silent film was to make a resurgence, how would we, as a nation, respond? How important has music within film become? Why does music affect us the way that it does? From the beginning of film to today’s digital formatting, music had been a stable part of entertainment and used to suggest certain emotional responses on the audience and we haven’t questioned it. Music is an important part to film and without
none too familiar with film festivals myself, I began this project first by finding a way to describe what a film festival actually is. A film festival is an organized, extended presentation of films in one or more cinemas or screening places, usually in a single city or region. Though more often now films are shown outside. Films (movies), may be of more recent dates and, depending upon the festivals focus, can include international and domestic releases. My chosen film festival would be of a
Here’s this year’s list of 10 truly phenomenal video essays that were uploaded in 2018 that I think all filmmakers, film students, and cinephiles alike should watch. (Click on the link in each title to read our write-ups of each video.)
Quentin Tarantino is definitely a genre-bending director, and in no film does he make that known more than in Kill Bill: Vol. 1. Elements of martial arts films, including bits taken from kung fu and wuxia films, blaxploitation, as well as spaghetti westerns can be easily recognized in the film, but just how many other genres does Tarantino’s masterpiece contain? This video from Fandor aims to answer that question.
Animation and comedy This chapter is concerned with comedy in the animated film as comedy is the core of most animations and has the capacity to laugh at world and show that things could be different. The animation extends the vocabulary of humour within the…
In 1949, there was a famous western movie called “The Red Pony” directed by Lewis Milestone. During previewing, viewers said that the acting was great and the directing was outstanding. However, there was one problem. The audience was laughing! For a film that was based…
Essays about films”/>
Shot by Maurice Kaufman, brother of Vertov, the film is a portrait of a city across 24 hours via bold experimentation based on Vertov’s staunchly Marxist ideologies. Its propagandist structure does not however belie its beauty.
Like a Jay Gatsby party, the excitement and laughter only serves to mask a profound emptiness whose own ridiculousness is an unacknowledged form of societal freakshow, which only those on the outside can perceive.
Sans soleil was Marker’s return to a personal mode of filmmaking after more than a decade in militant cinema. His reprise of the epistolary form looks back to earlier films such as Letter from Siberia (1958) but the ‘voice’ here is both intimate and removed. The narrator’s reading of Krasna’s letters flips the first person to the third, using ‘he’ instead of ‘I’. Distance and proximity in the words mirror, multiply and magnify both the distances travelled and the time spanned in the images, especially those of the 1960s and its lost dreams of revolutionary social change.
As a riposte to that thesis (albeit never framed as such), F for Fake is subtle, robust, supremely erudite and never once bitter; the darkest moment – as Welles contemplates the serene magnificence of Chartres – is at once an uncharacteristic but touchingly heartfelt display of humility and a poignant memento mori. And it is in this delicate balancing of the autobiographical with the universal, as well as in the dazzling deployment of cinematic form to illustrate and mirror content, that the film works its once unique, now highly influential magic.