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Wrote about The Lodger as Hitchcock's early but definitive declaration on the apparatus of cinematic image-making for Outskirts.
Excerpts below:
"The subject of the plot (murder of blonde girls) and the apparatus for its conveyance (newspapers/cinema) are directly linked from the outset. The circulation of information within the world of the film isn’t simply about the content of what is being shared, but also about the apparatus through which that information moves. And this applies as much to the diegesis…
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For photogénie, I wrote about the dialectical transmutations that the film frame undergoes during the production process while appearing to remain unchanged. I end the essay with a case study of Walsh's lovely masterwork, The Strawberry Blonde.
You can read the full text here. Excerpt below:
"Walsh conceives this scene as a series of intricate movements that subtly reflect or react to the developing dynamics between the two characters. His mise-en-scène adjusts as quickly as his characters talk without ever…
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There are people in the world with whom you're in love and people who are in love with you, but the two don't necessarily occupy the same world. The impossibility of these lines to intersect is both the tragic beauty and the beautiful tragedy of life.
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This was made in 1932 for general audiences. What happened? when was America so sophisticated? and how could we have gone so far in the other direction?
Peter Bogdanovich
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Emmanuelle Riva as a bisexual commie atheist and Blemondo as a sexy intellectual priest in a film by Jean-Pierre Melville?
OUI S’IL VOUS PLAÎT
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