4 posts tagged with cinema by filthy light thief.
Displaying 1 through 4 of 4.
[Warning - flashing lights in some links] Bradley Eros & Tim Geraghty have collaborated on some interesting de/re/constructive film making, with the blockbuster buster TransTrans (TransformersTransformed) (11:58) - "a radical remix of the recent Transformers film, via synthetic collapse and critical revenge on its old & new fascist tropes," blending film imagery with text from the Futurist Cinema/Manifesto and soundtrack by Einstürzende Neubauten | Eros C'est Lamour, a wedding gift (7:57) - "The missing link between Rose Hobart and Maria Montez via Rrose Selavy's bride stripped bare by the song of the sarong" | FOOLS! (30:11) - "Remember, fortuna favet fatuis [fortune favors fools], but fortuna caeca est [fortune is blind]."
"The rise in popularity of television is credited with inciting the move to the widescreen systems that flourished throughout the 50s, 60s, and 70s. This is only partially true. In the early 1950s, studios did begin to compose their movies so that the top and bottom of the picture could be chopped off and a wider screen would show the center of the old 1.37:1 frame. The aspect ratio used by the various studios varied from about 1.5:1 up to the common 1.85:1. But the real reason for the birth of a multitude of widescreen and large format systems was the 1952 opening of a movie made in a process that had its roots in a World War II aerial gunnery trainer. This Is Cinerama (modern YouTube trailer; Wikipedia) shook the industry to the core. The public and reviewers loved it. Its giant screen filled with three oversized 35mm images and an incredible new sound system called Stereophonic were a marvel to behold, and the studios immediately rushed to find something that could do what Cinerama did (Google books preview of the August 1952 issue of Popular Mechanics)." [more inside]
The most immediately apparent characteristic of James Benning’s film is surely its form: thirteen ten-minute static takes, which (save the leader between shots) comprise the entire visual track of the picture. Far from cursory, this detail accounts for the totality of Benning’s æsthetic. Everything that Benning says in 13 Lakes, he says using this formal language – along with a soundtrack recorded on-site, thought not necessarily concurrently with the image. Moreover, Benning, as has been noted, repeats the same basic framing in each of the thirteen segments, presenting the horizon-line in centre of the frame, dividing lake and sky into approximately equivalent fields. James Benning’s Art of Landscape: Ontological, Pedagogical, Sacrilegious, by Michael J. Anderson for Senses of Cinema (via; see also: 13 Lakes Q&A at LA Film Forum) [more inside]
British manned space flights; an insidious threat from outer space; a man mutating into an evil alien, his human consciousness being eaten away; and a scientist - utterly anti-Establishment, courageous and cerebral - the only man who can fight it. No, not Doctor Who, but his highly distinguished predecessor, Prof Bernard Quatermass. A decade before Doctor Who first aired, the The Quartermass Experiment was the first science-fiction TV serial produced for adults, and a live-to-viewers BBC production, to boot. The show ran for six episodes in 1953, of which only the first two episodes are known survive. The short sci-fi series spun off three original sequels and a radio drama-documentary, along with movie re-makes of the first three series by Hammer Films. BBC brought back live TV with a 2005 adaptation of the original 1953 series. You can watch the various series on online (in parts on Daily Motion), thanks to fans of The British Rocket Group. [more inside]