With selections from the agency's Magnum Eye (1991 — 93) and Magnum in Motion (2004 — today) initiatives, the series also investigates the technological and artistic transition
from narrative cinema to video, and finally, to contemporary creators operating in a hybrid and online media field.
Not exact matches
That
narrative slyness is especially welcome in Friedkin, acting as a palliative to the sensory overdose in which he habitually deals; such a contrast was nowhere to be seen in «Bug» (2006), a film that sent me straight
from the
cinema to the pharmacy in search of anti-itch cream, but we find it in the first half of «Killer Joe,» thanks to the title character.
Allan Cameron's Modular
Narratives in Contemporary Cinema, the subject of this review, does something similar — for the most part — to Puzzle Films and seems to sit clearly on the side of the debate that understands there is indeed something unique about the complex narratives of contemporary cinema, arguing that these films are different not only from classical Hollywood films but also from the art cinema and experimental films they often
Narratives in Contemporary
Cinema, the subject of this review, does something similar — for the most part — to Puzzle Films and seems to sit clearly on the side of the debate that understands there is indeed something unique about the complex
narratives of contemporary cinema, arguing that these films are different not only from classical Hollywood films but also from the art cinema and experimental films they often
narratives of contemporary
cinema, arguing that these films are different not only
from classical Hollywood films but also
from the art
cinema and experimental films they often resemble.
It's a loose adaptation of British novelist Sarah Waters» Fingersmith; it's a milestone of LGBT
cinema in conservative South Korea; it's an unapologetically kinky slice of erotica Tinto Brass at his most florid would be proud of; it's a Byzantinely structured tale of con and counter-con that makes real demands of its audience to keep up; it's a stirring
narrative of women escaping
from bastard men; it's a vividly sketched chamber piece; and — most importantly — it's a damn good yarn.
It is fine with me if there are two, ten, or a hundred
cinemas, but I think we have to understand that the most important new movies will not be coming
from the directors who make better and better films in conventional
narrative modes, no matter how much we may admire and enjoy what they accomplish.
Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship
from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent
cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines,
narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.
With its gorgeous widescreen compositions and sophisticated look at American male obsession, this stripped - down
narrative from maverick director Monte Hellman is one of the artistic high points of 1970s
cinema, and possibly the greatest road movie ever made.
World
Narratives Presented by 6ABC: Explore the world through film with this diverse selection of international
cinema that features distinct perspectives and images
from around the globe.
A more likely answer is that such evocations result
from Malick's understanding of notions such as image and
narrative in relation to
cinema.
At the Glasgow Film Festival, I talked to McArdle about making the leap
from music video directing to
narrative feature filmmaking, creating the aesthetic of dreams vs. reality, the influence of horror
cinema on her film, and depicting female friendship on screen.
Although its overwhelming logic is hence
from video games — «I've never made it this far,» Cage tells his followers at one point, when asked what comes next — Edge of Tomorrow works best as a gleeful riff on the
narrative tricks endemic to the
cinema, an art defined more by editing than by images.
She likens him to a «great
cinema director» who approaches an «extraordinary
narrative canvas
from different angles».
Since that time, Jia has spent time working in both the documentary form (Dong; I Wish I Knew) and through something approaching both documentary and
narrative cinema (Still Life; 24 City), effectively — almost imperceptibly — combining devices
from each in an effort at constructing an altogether new hybrid.
Mixing visceral, documentary - like realism with the
narrative focus of Hollywood noir and melodrama, Manila in the Claws of Light is a howl of anguish
from one of the most celebrated figures in Philippine
cinema.
The creeping paranoia and the excellent setups that make you suspect various players, until the true story starts to unfold, creates an unsettling feeling of dread absent
from American horror
cinema which shifted quite a bit to gore and body horror for a good couple of decades until, probably, THE SIXTH SENSE... but even thereafter, what most filmmakers took
from Shyamalan's film was not the buildup of dread, but rather the mystery box and the twist, diminishing the emphasis on
narrative and suspense.
The creeping paranoia and the excellent setups that make you suspect various players until the true story starts to unfold creates an unsettling feeling of dread, absent
from American horror
cinema which shifted quite a bit to gore and body horror for a good couple of decades until, probably, THE SIXTH SENSE... but even thereafter, what most filmmakers took
from Shyamalan's film was not the buildup of dread, but rather the mystery box and the twist, weakening the emphasis on
narrative and suspense.
These superficial descriptors of perceived quality evince an all - too - common perspective
from younger filmmakers on a form of hard - edged
cinema that values
narrative jolts above the meaningful creation of a cinematic world.
In order to force the spectator to be aware of the cinematic apparatus, Haneke creates a new route, differing at the same time
from the classical
narrative cinema, which suspends the spectator's awareness, the first - generation modernism of benign reflexivity, characterised by Chantal Akerman's
cinema, and the second - generation modernism of aggressive reflexivity, exemplified by Jean - Luc Godard's Le Vent d'Est (1970).
Coming
from the approach that form creates content, we can open ourselves up to understanding that any plot or
narrative can be executed effectively and interestingly in the medium of moving images we know as
cinema.
«Zero Motivation» Israeli dark comedy «Zero Motivation» won the top
Narrative Prize at Tribeca this year, and it felt like this was the rare prize winner that won almost unanimous support
from attendees: the film attracted raves
from pretty much everyone that saw it, and marks first - time filmmaker Talya Lavie as an exciting new comedic voice in
cinema.
A pioneer of Surrealist
cinema, Luis Buñuel managed to liberate the film
from linear, logical
narrative.
Moving away
from the linear
narrative of
cinema, the artist prefers to combine images text and sound to produce chains of association.
Sean Downey's recent paintings combine sources, images, and fictions
from American history and
cinema to create allegorical, open - ended
narratives.
She uses computer technology to generate her locations, and borrows audio
from television and
cinema to construct
narratives with a comedic touch.
Other
narrative elements, again linked to
cinema, reference Jane Birkin and Joe Dalessandro
from Je t» aime moi non plus, Serge Gainsbourg's 1976 film.
On the other, its exploration of the possibilities for a
cinema that expands
from the screen into the environment, spreading
narrative splinters that are only composed in the experience of each viewer, reminds us of the path of the video itself in the context of contemporary art.»