In the late 1970s, an associate professor in the Philosophy department at Johns Hopkins (thesis title: "The Nature of the Natural Numbers") began publishing essays on Hollywood movies. George M. Wilson wasn't the first person to undergo this shift in specialism. At the start of the decade, Stanley Cavell had published The World Viewed, a series of "reflections on the ontology of film." But Cavell had always been concerned with how works of art enable us to think through philosophical themes such as knowledge and meaning, and he held a chair, at Harvard, in Aesthetics. Wilson differed in that he brought a range of analytic gifts to an ongoing revolution: the close reading of American cinema, conceived as part of the "auteur" policy of Truffaut and other writers at Cahiers du cinéma in the 1950s, and concertedly developed in the following decades by critics in England such as V. F.
- 12/11/2017
- MUBI
Edited by Adam Cook
The lineup for this year's New Directors/New Films, "presented jointly by the Film Society of Lincoln Center and The Museum of Modern Art," has been announced. "For the Birds": Richard Brody picks on the Academy Awards. There's an intriguing new film journal on the scene: "The Completist," authored by Rumsey Taylor. Head over to the site to read his "Statement of Intentions". Described as being "roughly quarterly", we're looking forward to future instalments. In Film Comment, Tanner Tafelski writes on the films of John Korty:
"Carroll Ballard, Francis Ford Coppola, George Lucas, Philip Kaufman, and Michael Ritchie all are, or were, San Francisco–based filmmakers. Yet none of these people seem to be Bay Area filmmakers like Martin Scorsese, Abel Ferrara, or Spike Lee are New York filmmakers. Avant-garde cinema, on the other hand, has a rich history with the West Coast in general,...
The lineup for this year's New Directors/New Films, "presented jointly by the Film Society of Lincoln Center and The Museum of Modern Art," has been announced. "For the Birds": Richard Brody picks on the Academy Awards. There's an intriguing new film journal on the scene: "The Completist," authored by Rumsey Taylor. Head over to the site to read his "Statement of Intentions". Described as being "roughly quarterly", we're looking forward to future instalments. In Film Comment, Tanner Tafelski writes on the films of John Korty:
"Carroll Ballard, Francis Ford Coppola, George Lucas, Philip Kaufman, and Michael Ritchie all are, or were, San Francisco–based filmmakers. Yet none of these people seem to be Bay Area filmmakers like Martin Scorsese, Abel Ferrara, or Spike Lee are New York filmmakers. Avant-garde cinema, on the other hand, has a rich history with the West Coast in general,...
- 2/25/2015
- by Notebook
- MUBI
Writing for Criterion, Colin MacCabe sketches the evolution of Jean-Luc Godard's thinking and art from 1968 to 1980, the year Every Man for Himself was released. Girish Shambu remembers the late film historian, scholar and critic, Gilberto Perez. Peter Davis, whose mother, Tess Slesinger, was nominated for an Oscar for her screenplay for Elia Kazan's A Tree Grows in Brooklyn, argues that Hollywood didn't used to be so male. Also in the Nation, Stuart Klawans reviews Clint Eastwood's American Sniper and John Boorman's Queen and Country. Plus Mark Cousins's 50-week film course and much more in today's roundup of news and views. » - David Hudson...
- 2/20/2015
- Fandor: Keyframe
Writing for Criterion, Colin MacCabe sketches the evolution of Jean-Luc Godard's thinking and art from 1968 to 1980, the year Every Man for Himself was released. Girish Shambu remembers the late film historian, scholar and critic, Gilberto Perez. Peter Davis, whose mother, Tess Slesinger, was nominated for an Oscar for her screenplay for Elia Kazan's A Tree Grows in Brooklyn, argues that Hollywood didn't used to be so male. Also in the Nation, Stuart Klawans reviews Clint Eastwood's American Sniper and John Boorman's Queen and Country. Plus Mark Cousins's 50-week film course and much more in today's roundup of news and views. » - David Hudson...
- 2/20/2015
- Keyframe
In today's roundup of news and views: David Bordwell and Kristin Thompson on Jacques Tati's Playtime, Godfrey Cheshire on D.W. Griffith's The Birth of a Nation, Caveh Zahedi on the day he met Robert Bresson, Max Goldberg on the influence of Alfred Hitchcock's Vertigo, Bilge Ebiri on Ousmane Sembene, J. Hoberman on Clint Eastwood and American Sniper, Gilberto Perez on Jean Renoir's A Day in the Country, Jonathan Rosenbaum on Luis Buñuel's The Young One, Howard Hampton on Nicolas Roeg and Don’t Look Now (1973), Olivier Assayas on John Carpenter’s The Fog—and lots more. » - David Hudson...
- 2/18/2015
- Fandor: Keyframe
In today's roundup of news and views: David Bordwell and Kristin Thompson on Jacques Tati's Playtime, Godfrey Cheshire on D.W. Griffith's The Birth of a Nation, Caveh Zahedi on the day he met Robert Bresson, Max Goldberg on the influence of Alfred Hitchcock's Vertigo, Bilge Ebiri on Ousmane Sembene, J. Hoberman on Clint Eastwood and American Sniper, Gilberto Perez on Jean Renoir's A Day in the Country, Jonathan Rosenbaum on Luis Buñuel's The Young One, Howard Hampton on Nicolas Roeg and Don’t Look Now (1973), Olivier Assayas on John Carpenter’s The Fog—and lots more. » - David Hudson...
- 2/18/2015
- Keyframe
A Day in the Country
Written and directed by Jean Renoir
France, 1936
Jean Renoir’s A Day in the Country comes at a curious point in the director’s career. In 1936, he had several exceptional silent films to his credit, as well as such classics of early French sound cinema as La Chienne (1931), Boudu Saved from Drowning (1932), and The Crime of Monsieur Lange (1936), among others. But he had still not yet achieved his singular place on world cinema’s pre-war stage. That he would do just a year later, with La Grande Illusion (1937). As noted on the new Criterion Blu-ray, A Day in the Country was “conceived as a short feature…[and] nearly finished production in 1936 when Renoir was called away for The Lower Depths. Shooting was abandoned then, but the film was completed with the existing footage by Renoir’s team and released in its current form in 1946, after the...
Written and directed by Jean Renoir
France, 1936
Jean Renoir’s A Day in the Country comes at a curious point in the director’s career. In 1936, he had several exceptional silent films to his credit, as well as such classics of early French sound cinema as La Chienne (1931), Boudu Saved from Drowning (1932), and The Crime of Monsieur Lange (1936), among others. But he had still not yet achieved his singular place on world cinema’s pre-war stage. That he would do just a year later, with La Grande Illusion (1937). As noted on the new Criterion Blu-ray, A Day in the Country was “conceived as a short feature…[and] nearly finished production in 1936 when Renoir was called away for The Lower Depths. Shooting was abandoned then, but the film was completed with the existing footage by Renoir’s team and released in its current form in 1946, after the...
- 2/17/2015
- by Jeremy Carr
- SoundOnSight
We remember four remarkable men we've lost this past week. Cinematographer Takao Saito worked for nearly half a century with Akira Kurosawa and won a Japanese Academy Award. Film historian and critic Gilberto Perez wrote a landmark book in 1998, The Material Ghost: Films and their Medium. Samuel Goldwyn Jr. "helped create a business model—low production costs, guerrilla marketing—that allowed art-house movies to grow into a powerful cultural and economic force" (New York Times). And "fame-ish" Taylor Negron will be remembered for more than his roles in Fast Times at Ridgemont High, Better Off Dead and Punchline—he was also an engaging and funny writer. » - David Hudson...
- 1/17/2015
- Fandor: Keyframe
We remember four remarkable men we've lost this past week. Cinematographer Takao Saito worked for nearly half a century with Akira Kurosawa and won a Japanese Academy Award. Film historian and critic Gilberto Perez wrote a landmark book in 1998, The Material Ghost: Films and their Medium. Samuel Goldwyn Jr. "helped create a business model—low production costs, guerrilla marketing—that allowed art-house movies to grow into a powerful cultural and economic force" (New York Times). And "fame-ish" Taylor Negron will be remembered for more than his roles in Fast Times at Ridgemont High, Better Off Dead and Punchline—he was also an engaging and funny writer. » - David Hudson...
- 1/17/2015
- Keyframe
Blu-ray & DVD Release Date: June 10, 2014
Price: Blu-ray/DVD Combo $39.95
Studio: Criterion
Ennui lives!: Francisco Rabal and Monica Vitti in Antonioni's L’eclisse.
The 1962 Italian drama L’eclisse is the concluding chapter of Michelangelo Antonioni’s informal trilogy on contemporary malaise (following L’avventura and La notte).
L’eclisse (The Eclipse) tells the story of a young woman (L’avventura’s Monica Vitti) who leaves one lover (Viridiana’s Francisco Rabal) and drifts into a relationship with another (Purple Noon’s Alain Delon).
Using the architecture of Rome as a backdrop for the doomed affair, Antonioni achieves the apotheosis of his style in this return to the theme that preoccupied him the most: the difficulty of connection in an alienating modern world.
Criterion’s Blu-ray/DVD Combo edition of the movie, which is presented in Italian with English subtitles, contains the following features:
• New, restored high-definition digital film transfer, with...
Price: Blu-ray/DVD Combo $39.95
Studio: Criterion
Ennui lives!: Francisco Rabal and Monica Vitti in Antonioni's L’eclisse.
The 1962 Italian drama L’eclisse is the concluding chapter of Michelangelo Antonioni’s informal trilogy on contemporary malaise (following L’avventura and La notte).
L’eclisse (The Eclipse) tells the story of a young woman (L’avventura’s Monica Vitti) who leaves one lover (Viridiana’s Francisco Rabal) and drifts into a relationship with another (Purple Noon’s Alain Delon).
Using the architecture of Rome as a backdrop for the doomed affair, Antonioni achieves the apotheosis of his style in this return to the theme that preoccupied him the most: the difficulty of connection in an alienating modern world.
Criterion’s Blu-ray/DVD Combo edition of the movie, which is presented in Italian with English subtitles, contains the following features:
• New, restored high-definition digital film transfer, with...
- 3/28/2014
- by Laurence
- Disc Dish
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