essays on films
Essay Documentary films have been applied to many movies over the course of time. Even Hollywood people are making “documentary-films”. But when a real documentary film maker makes a documentary film, he wants to change people’s attitude. There would be important information that would make the audience think hard on what they have witnessed. So, people ask, “what’s the nature of a documentary film”, “what subject does it have to deal with”, and “what is it doing to this day”. Films in Canada and England
of cinema many films instantly come to mind, don’t they? Timeless movies, movies that make you feel something, that make you want to go out and change your life. Actor Russell Crowe once said that, “I want to make movies that pierce people’s hearts and touch them in some way, even if it’s just for the night while they’re in the cinema; in that moment, I want to bring actual tears to their eyes and goosebumps to their skin.” Actors and directors alike strive to make provocative films because they understand
It’s always good to learn about where things come from. If you’re a big fan of animation, then this video essay from One Hundred Years of CInema is a definite must-see. In it, you’ll learn about how Walt Disney, as well as his most beloved animated characters, became internationally recognized icons, starting with the history of Snow White’s incredible cultural and emotional success.
We all know that the Coen Brothers are funny, what with all of their dark, morbid, gallows humor and black comedy. But why? And how? Julian Palmer of The Discarded Image unpacks Joel and Ethan Coen’s weird brand of comedy in this video essay, paying particular attention to their use of repetition.
Essays on films”/>
Welles’s final film is an explosive and intelligent scrutinisation of the filmmaking process and the concept of authenticity in art. Centrally presenting Elmyr de Hory’s career as an art forger, F for Fake transcends basic narrative or documentary expositions to instead philosophise on the ontology of authorship.
Walden is the film in its most diaristic form. Essentially a suitably handsome extended home video, Mekas’s film, shot from 1964-1969, features a series of chronologically edited video diaries that span from eating Chinese food with John Lennon, footage from the Velvet Underground’s first performance, or just the filmmaker eating a croissant in Marseille.
It isn’t going too far to claim that this tradition has constituted the foundation of cinephilic culture and helped to shape the cinematic canon itself. If Marker has now been welcomed into that canon and – thanks to the far greater availability of his work – into the mainstream of (primarily DVD-educated) cinephilia, it is rarely acknowledged how much of that work cheerfully undercuts many of the long-held assumptions and pieties upon which it is built.
There are many moments to quicken the heart in Sans soleil but one in particular demonstrates the method at work in Marker’s peerless film. An unseen female narrator reads from letters sent to her by a globetrotting cameraman named Sandor Krasna (Marker’s nom de voyage), one of which muses on the 11th-century Japanese writer Sei Shōnagon.
“To be a memorable and familiar rom-com bitch, or RCB, there are key elements that need to be in place: The RCB is often hard – hard-nosed or hard-faced, it doesn’t matter which (see Selma Blair as Vivian in Legally Blonde). And though she may be not very bright (our protagonist is always smart, in her own way), she’s always calculating (see Jean Hagen as Lina Lamont in Singin’ in the Rain). Hers is the kind of smart that is cold and insufferable and unattractive to women (see Fiona in Four Weddings and a Funeral. Also, Selma Blair in anything). Where our heroine is a guileless, undercover but unassuming supermodel with a MacArthur Grant-level brain, the RCB has a conniving sort of smarts, and is perhaps cruel and/or catty (see Jean Hagen/Lina Lamont again!). She may be beautiful – and if she’s on the big screen, she likely will be – but that is not necessarily a requirement for the RCB. She is often white, and though that’s not a specific prerequisite, it sure appears that way, no? ”
“Amanda Knox does something refreshing: It reminds viewers that its subjects are human.”