The Skin of the Frame
Posted: July 8, 2010 Filed under: Action, British Cinema, European Cinema, Faces, Film, Film Studies, Finding Words, Hollywood, Linking Spaces, Versus | Tags: Alberto Cavalcanti, BF Taylor, British Cinema, Charles Laughton, Chris Columbus, Dawn of the Dead, European Cinema, Faces, Film Studies, George Romero, Home Alone, Lillian Gish, Macaulay Culkin, Night of the Hunter, Night of the Living Dead, Robert Mitchum, Versus, Went the Day Well?, Words Leave a comment
Beginning off-screen and beyond then thrusting
inward; a movement that forever ruptures the sanctity of the skin o
f the frame.
Fred Astaire versus Jason Statham – The Transporter (Cory Yuen, 2002)
Posted: August 13, 2009 Filed under: Action, Dancing, Film, Film Studies, Finding Words, Linking Spaces, Versus | Tags: Choreography, Cory Yuen, Film Studies, Fred Astaire, Hollywood, Jason Statham, Martial Arts, The Transporter, Top Hat, Words Leave a commentDespite the changing frames and the patterns they contain traditions of power, poise and captured grace remain constant and engaging.
Went the Day Well? (Alberto Cavalcanti, 1942) versus E tu vivrai nel terrore – L’aldilà/The Beyond (lucio Fulci, 1981)
Posted: July 23, 2009 Filed under: British Cinema, European Cinema, Film Studies, Finding Words, Italian Cinema, Linking Spaces, Versus | Tags: Alberto Cavalcanti, British Cinema, E tu vivrai nel terrore - L'aldilà, European Cinema, Film Studies, Horror, Italian Cinema, Lucio Fulci, The Beyond, Versus, Went the Day Well?, Words, World War II Leave a commentThe fight against the violation of place and time occurs within spaces also facing the prospect of impossibility becoming commonplace.
film studiesStream Line (Chris Welsby, 1976) vs Confessions of a Driving Instructor (Norman Cohen, 1976)
Posted: June 30, 2009 Filed under: British Cinema, Finding Words, Robin Askwith, Versus | Tags: British Cinema, Chris Welsby, Confessions, Experimental Film, Film Studies, Norman Cohen, Robin Askwith, Stream Line, Versus, Words Leave a comment
Welsby’s contemplative unfolding space juxtaposed with those more frenetic and exploitative spaces unnaturally bared in Confessions of a Driving Instructor.
20filmwords 