whati is the argument of the film makers in the movie xname
With more and more available ways to spend your entertainment time, however, you do need some kind of filter to reduce your options and make choosing more manageable. Perhaps you can think of ‘official’ critics as skilled and trained curators of an imaginary media museum.
The first part of that purpose has largely disappeared now that show times are so easy to find and on-demand services let you view movies any time, anywhere. As regards the second part, well (again thanks to the Internet), today everyone’s a critic. Blogs, customer reviews and Twitter hashtags mean that you can instantly find a dizzying array of opinion on any film you want to see.
2. How have the conditions of the film industry—production, distribution, and exhibition—affected the uses of the medium? Films are made within modes of production, habitual ways of organizing the labor and materials involved in creating a movie. Some modes of production are industrial; that’s when companies make films as a business. The classic instance of industrial production is the studio system, in which firms are organized in order to make films for large audiences through a fairly detailed division of labor. Hollywood’s studio system is the most famous, but there have been studio systems of production in many countries.
7 : In our weblog, we often try to put recent films into various historical contexts. See www.davidbordwell.net/blog.
The movie? The Dirties, a high school film project about two cops who take out a gang of bullies.
But what’s it really about? If there were no more to it than a trite observation of how working in Hollywood is much like working for the mob, it wouldn’t be on this list. Barry Sonnenfeld’s adaptation of Elmore Leonard’s novel is about film-loving criminals who see their chance to escape through making movies, from John Travolta’s super-cool loan shark Chili Palmer, to Delroy Lindo’s drug dealer and aspiring screenwriter. While Zimm is less scrupulous in his workings, there’s a love of film motivating various characters here, as seen in Chili’s awed rewatch of Touch Of Evil during a rare moment of peace. Unsurprisingly, there’s nothing so passionate as that bit in the belated sequel, 2005’s Be Cool, which was set in the music industry instead.
A ‘small’ work, it comprises stills, archive footage, clips from an old Sherlock Holmes movie, a few brief new scenes – mostly without actors – and music by Mompou and (for once, superbly used) Arvo Pärt. If its tone – it’s introduced as a “soliloquy” – and scale are modest, its thematic range and philosophical sophistication are considerable.
In his review of Letter from Siberia (1957), Bazin placed Marker at right angles to cinema proper, describing the film’s “primary material” as intelligence – specifically a “verbal intelligence” – rather than image. He dubbed Marker’s method a “horizontal” montage, “as opposed to traditional montage that plays with the sense of duration through the relationship of shot to shot”.
Following is further discussion of ways in which ethical questions about relationships with subjects surfaced in interviews.
They were acutely aware of the power they have over their subjects. “I usually enter people’s lives at a time of crisis. If the tables were turned, God forbid,” said Joe Berlinger, “I would never allow them to make a film about my tragedy. I am keenly aware of the hypocrisy of asking someone for access that I myself would probably not grant.” “They let you be there as their life unfolds,” said Steven Ascher, “and that carries with it a responsibility to try to anticipate how the audience will see them, and at times to protect them when necessary.”