Though Llewyn appears stuck, he’s the nomad always ecstatic in his circumlocutions. He’s on a road to nowhere but at least trudging on a path to somewhere. The rest of the world marks time, gliding smoothly along the straight line of the future, arrested comfortably in the steady flow of the ever-present, and being naively present relieves one from the nightmare of history. Maybe the materialization of Dylan’s music in the final minutes, when it wasn’t there in the beginning, is another sign that Llewyn’s time has passed, and it’s time to, um, face the music. Like clockwork he goes into the alley to confront the shadowy figure, and takes his punch (this time not saying “I’m sorry?” before the fist collides with his face, however). Consigned again to this cesspool, he doesn't stay down but ascends through iron bar shadows and follows his bellicose aggressor, who gets into a cab and drives off. Llewyn looks on somewhat wistfully, not saying “farewell” in accord with Dylan but rather says “Au revoir”—indicating they’ll see each other again. At that quiet utterance the cab’s wheels screech and turn a sharp corner. The linear trajectory forward is thwarted and Fate's Emissary will inevitably come around again. The Orbital Noose: Inside Llewyn Davis
posted by timshel
on Mar 26, 2014 -
Jamestown Baloos (1957) [SLYT]
by Robert Breer [PDF]
) "is a frenetic, three-part stop-motion animation that features an army of everyday forms and figures — geometric shapes, a piece of string, newspaper clips, a pin-up girl, even Napoleon Bonaparte — flashing across the screen. Placed in increasingly compromised situations and choreographed to a jingoistic tune, the figures essentially become puppets of their former selves. Such unrelenting visuals recall not only Fernand Léger’s early experimental film, Ballet Mécanique
(1924), as Breer himself has mentioned, but also early twentieth-century Dadaist collage. Dada artists like Kurt Schwitters and Hannah Höch created witty, unapologetic works that reflected the chaos and violence of modern existence. Jamestown Baloos
serves, as their works did, as a pointed indictment on the absurdity of war."
posted by Room 641-A
on Mar 8, 2014 -
Film preservation 2.0 Unless the unique challenges of digital preservation are met, we run the risk of a future in which a film from 1894 printed on card stock has a better chance of surviving than a digital film from 2014.
posted by mediareport
on Mar 2, 2014 -
Assembling a Film's Billing Block.
The blurb at the bottom of a movie poster is called the "billing block." And while it might look like a bar code of haphazardly packed type, it is in fact the product of detailed legal agreements and intense contract negotiation. Below is the the billing block for a fictional film and an explanation of how it was constructed. (via kottke.org
posted by xingcat
on Feb 24, 2014 -
Lilo & Stitch
is an odd movie to come from Disney for a number of reasons: a rare work
based on an original story
, set in a realistic version of the "island paradise" of Hawaii
, focusing on strong female characters who have a realistic/varied bodyshapes
. For more insight into the making of the "affordable" Disney film
, here's Lilo & Stitch revisited, Part I
, interviewing the creators Chris Sanders
and Dean DeBlois
, and Part II
, featuring master animator Andreas Deja
. For a taste of the animation, here are four teaser clips of Stitch invading other Disney films
, the official full version of the Lion King interrupted trailer
, and making of Lilo & Stitch short docu-clip
posted by filthy light thief
on Feb 12, 2014 -
- "Referencing the utopian visions of 1960’s architecture practice Archigram, Walking City is a slowly evolving video sculpture. The language of materials and patterns seen in radical architecture transform as the nomadic city walks endlessly, adapting to the environments she encounters.
posted by codacorolla
on Feb 9, 2014 -
As a thank you gift for his work on "Star Wars", George Lucas gave art director Roger Christian 25,000 pounds in 1979 to make a short film. Christian used the money to shoot a 25 minute medieval fantasy titled "Black Angel"
. Lucas liked the film so much that he had it precede theatrical showings of "Empire Strikes Back" in the UK, Australia and Scandinavia. In the intervening years, the film was thought lost until a negative was discovered at Universal Studios in 2011. The film was restored and given a premiere
at the Mill Valley Film Festival in Marin County last October. It will be shown again later this month at the Glasgow Film Festival and will eventually find its way to a streaming services like Netflix later this year. The BBC recently talked to Christian about the film and its rediscovery.
posted by AlonzoMosleyFBI
on Feb 7, 2014 -
A short film from Jim Munroe
, the creator of Ghosts With Shit Jobs
, for the Lo-fi Sci-fi 48 Hour Film Challenge
. "Just Ella
posits a future overrun by gibbering monstrosities. Ella takes refuge in a 'the Ossington Safehouse, a collectively-run space dedicated to human sovereignty.' But despite doing the assigned tasks on the chore list, the Safehouse isn’t safe — the terrors outside are nothing compared to those within." [Via]
posted by homunculus
on Feb 6, 2014 -
The Sochi Project: An Atlas of War and Tourism in the Caucasus “Sochi used to be much prettier... These days crooks from Moscow come here to build and sell skyscrapers and apartments, although it used to be such a small, lovely town."
via The New York Review of Books
article on "Why Sochi"
Putin explicitly links the Games to the humiliations of the recent past: “There is also a certain moral aspect here and there is no need to be ashamed of it,” he said. “After the collapse of the Soviet Union, after the dark and, let us be honest, bloody events in the Caucasus, the society had a negative and pessimistic attitude.” The Olympics, he explains, are a necessary part of an effort to “strengthen the morale of the nation.”
posted by spamandkimchi
on Feb 6, 2014 -
"Everything is fine and the world is beautiful. It's raining, it's dark, I woke up at 5:30AM, I'm commuting in traffic. I would have had a headache, I would have been miserable, I would have wondered how my life took me to this point. This point I'm at right now. But no, no, everything is fine. Life is beautiful. The rain drops are just falling and in each one I see the reflection of every persons life around me. Humanity is beautiful. In this still frame shot of traffic on this crowded bus I just found love and peace. Heroin is a wonder drug. Heroin is better than everything else. Heroin makes me who I wish I was. Heroin makes life worth living. Heroin is better than everything else." [more inside]
posted by Rhaomi
on Feb 4, 2014 -
After Michael Mann set out to direct Collateral, the story’s setting moved from New York to Los Angeles. This decision was in part motivated by the unique visual presence of the city — especially the way it looked at night. Mann shot a majority of the film in HD (this was 2004), feeling the format better captured the city’s night lighting. Even the film’s protagonist taxi needed a custom coat to pick up different sheens depending on the type of artificial lighting the cab passed beneath. That city, at least as it appears in Collateral and countless other films, will never be the same again. L.A. has made a vast change-over to LED street lights, with New York City not far behind. Why Hollywood Will Never Look the Same Again on Film: LEDs Hit the Streets of LA & NY
posted by timshel
on Feb 3, 2014 -
2001: A Space Odyssey – Stanley Kubrick’s 1968 sci-fi masterpiece – seems an appropriate place to start a blog about typography in sci-fi. Amongst other delights, it offers a zero-gravity toilet, emergency resuscitations, exploding bolts, and product placement aplenty. It’s also the Ur Example of Eurostile Bold Extended’s regular appearance in spacecraft user interfaces. [via]
posted by planetesimal
on Feb 2, 2014 -
This documentary pokes fun at the ways in which Inuit people have been treated as “exotic” documentary subjects by turning the lens onto the strange behaviours of Qallunaat (the Inuit word for white people). The term refers less to skin colour than to a certain state of mind: Qallunaat greet each other with inane salutations, repress natural bodily functions, complain about being cold, and want to dominate the world. Their odd dating habits, unsuccessful attempts at Arctic exploration, overbearing bureaucrats and police, and obsession with owning property are curious indeed.
A collaboration between filmmaker Mark Sandiford and Inuit writer and satirist Zebedee Nungak, Qallunaat! brings the documentary form to an unexpected place in which oppression, history, and comedy collide.
Qallunaat! Why White People Are Funny
posted by Rumple
on Jan 30, 2014 -
Because the film is a period piece, The Godfather actually presents a fascinating record of what 1940s-era New York City locations still existed in the early-1970s. Sadly, many of them are now gone. What still remains? Let’s take a closer look.
posted by timshel
on Jan 27, 2014 -