tag:blogger.com,1999:blog-66481758021367170862024-03-13T18:52:08.080-07:00Film Studies ResourcesOswald Itenhttp://www.blogger.com/profile/09560644491496569393noreply@blogger.comBlogger108125tag:blogger.com,1999:blog-6648175802136717086.post-20947080754766541022016-12-23T00:00:00.000-08:002016-12-23T00:00:04.515-08:00ARRIVAL (Villeneuve, 2016): Flashbacks?Denis Villeneuve's <a href="http://www.imdb.com/title/tt2543164/combined"><b>ARRIVAL </b></a>is a thought experiment about how a language determines our way of thinking. On another level, the film challenges the implicitness with which we interpret certain formal structures as flashbacks based on conventions of film language.<br />
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<i>Denis Villeneuves Sci-Fi-Gedankenexperiment ARRIVAL handelt davon, wie die Sprache unser Denken beeinflusst. Auf einer zusätzlichen Ebene stellt der Film auch die Selbstverständlichkeit in Frage, mit der wir gewisse formale Strukturen aufgrund von Konventionen der Filmsprache automatisch als Rückblenden interpretieren.</i><br />
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Oswald Itenhttp://www.blogger.com/profile/09560644491496569393noreply@blogger.com0tag:blogger.com,1999:blog-6648175802136717086.post-25015054451993835142016-12-16T00:00:00.000-08:002016-12-16T00:00:02.099-08:00SHE WORE A YELLOW RIBBON (Ford, 1949): Red Technicolor LightingJohn Ford's SHE WORE A YELLOW RIBBON is a rare Technicolor cavalry western of the era that exploits more than just the usual uniform colors (blue and yellow) against the reddish-brown rocks of Monument Valley. There are a few studio night scenes with strong expressionist lighting like in a musical or melodrama. In accord with Techniolor's "color consciousness", the strong red side light does not affect skin tones, though.<br />
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<i>John Fords SHE WORE A YELLOW RIBBON ist ein seltenes Beispiel eines Technicolor-Kavalleriewesterns jener Zeit, dessen Farbdramaturgie über die Kombination von blau-gelben Uniformen vor den rotbraunen Felsen des Monument Valley hinausgeht. In einigen Nachtszenen kommt starkes expressionistisches Licht ähnlich zum Einsatz wie damals sonst hauptsächlich in Melodramen und Musicals. Getreu der Technicolor-Richtlinie "color consciousness" verändert das rote Licht nur Umgebung und Objekte, nicht aber die Hauttöne.</i><br />
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<tr><td class="tr-caption" style="text-align: center;"><i>The expressionistic lighting of the gentle graveyard scene is immediately contrasted by this second bugle shot with completely realistic lighting.</i></td></tr>
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<br />Oswald Itenhttp://www.blogger.com/profile/09560644491496569393noreply@blogger.com0tag:blogger.com,1999:blog-6648175802136717086.post-58545336946284577822016-12-09T00:00:00.002-08:002016-12-09T00:00:34.096-08:00KIND HEARTS AND CORONETS (Hamer, 1949): Voice-Over NarrationProbably best known for Alec Guiness playing eight different members of the same family, Robert Hamer's Ealing comedy KIND HEARTS AND CORONETS is also noteworthy for its ample use of voice-over narration. We are used to the concept of someone reading his memoirs off screen as we enter or exit a flashback. But having voice-over narration for almost 90 minutes with only brief pauses for onscreen dialogue is rather unusual. But then, so is talking about murder in a decidedly calm and courteous fashion.<br />
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<i>Bei Robert Hamers Ealing Komödie KIND HEARTS AND CORONETS denken die meisten Leute daran, dass Alec Guiness acht verschiedene Mitglieder einer Familie verkörpert, und weniger an die ausgiebig verwendete Voice-Over-Erzählung. Nun sind wir es ja gewohnt, dass jemand beim Anfang oder Ende einer Rückblende aus dem Off seine Erinnerungen erzählt. Eine Voice-Over-Erzählstimme über fast 90 Minuten mit nur gelegentlichen Pausen für Dialoge ist jedoch eher ungewöhnlich. Aber ebenso ungewöhnlich ist es, in einer entschieden ruhigen und vornehmen Weise über Mord zu sprechen.</i><br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Dennis Price as Louis Mazzini writing his memoirs.</i></td></tr>
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Oswald Itenhttp://www.blogger.com/profile/09560644491496569393noreply@blogger.com0tag:blogger.com,1999:blog-6648175802136717086.post-72274028448236932902016-12-09T00:00:00.000-08:002016-12-09T00:00:27.164-08:00LE PLAISIR (Ophüls, 1952): Caleidoscopic frame fragmentationMax Ophüls's <a href="http://www.imdb.com/title/tt0045034/combined"><b>LE PLAISIR</b></a> is so brimfull of pure cinema, it is a perfect film to study. Cinematographers Philippe Agostini and Christian Matras often create frames within frames that visually separate or unite the precisely blocked characters.<br />
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<i>Max Ophüls' LE PLAISIR ist ein Beispiel von "pure cinema", das zu studieren sich immer wieder lohnt. Die Kameramänner Philippe Agostini und Christian Matras unterteilen das Bild oft in weitere Unterkompositionen und Bildrahmen, welche die präzis aufgestellten Figuren auch visuell voneinander trennen oder verbinden.</i><br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Multiple frames within frames show character relationships.</i></td></tr>
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<br />Oswald Itenhttp://www.blogger.com/profile/09560644491496569393noreply@blogger.com0tag:blogger.com,1999:blog-6648175802136717086.post-5058824813948312912016-12-02T00:00:00.003-08:002016-12-02T00:00:15.709-08:00LA FILLE INCONNUE (Dardennes, 2016): cellphones and buzzersTelephone conversations are a central storytelling device in Jean-Pierre and Luc Dardenne's <a href="http://www.imdb.com/title/tt4630550/combined"><b>LA FILLE INCONNUE</b></a>. Most often we see - sometimes also hear - only one side of such dialogue scenes which automatically stimulates our imagination. While the cellphone is a pivotal prop, there is an aural emphasis on ring tones, buzzers and the like.<br />
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<i>Telephongespräche sind ein zentrales Erzählstilmittel in Jean-Pierre und Luc Dardennes LA FILLE INCONNUE. Meistens sehen - manchmal hören - wir nur die eine Seite solcher Dialoge, was automatisch unsere eigene Vorstellungskraft aktiviert. Während das Handy das entscheidende Requisit ist, werden auf der Tonspur Klingeln, Vibriergeräusche und Ähnliches betont.</i><br />
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<b><span style="color: #cc0000;"><br /></span></b>Oswald Itenhttp://www.blogger.com/profile/09560644491496569393noreply@blogger.com0tag:blogger.com,1999:blog-6648175802136717086.post-21731739953982901322016-12-02T00:00:00.001-08:002016-12-02T00:00:20.105-08:00THE QUIET MAN (Ford, 1952): The Narrator Shapes The StoryWard Bond as Father Lonergan is not your average voice-over narrator of a 1950s film. But then, <a href="http://www.imdb.com/title/tt0045061/combined"><b>THE QUIET MAN</b></a> is not your average 1950s film either, however old fashioned it may look on the surface. In the fictional village of Inisfree the two competing clergymen pull the strings on almost anything that goes on in the community. It seems that it is all a game, or probably a racket in the eyes of one tough villager. Anyway, the meaty and witty narrator introduces himself when we see Father Lonergan for the first time on screen - some ten minutes after he recounted scenes that he certainly did not witness first hand.<br />
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<i>Ward Bond als Father Lonergan ist sicher kein typischer Voice-Over-Erzähler eines Fünfzigerjahrefilms. Aber THE QUIET MAN ist auch kein typischer Fünfzigerjahrefilm, egal wie altmodisch er daherkommt. Im fiktiven Dörfchen Inisfree laufen fast alle Fäden bei den Priestern der beiden Kirchen zusammen. Alles scheint im Dorf ein Spiel zu sein, oder in den Augen eines rauheren Dorfbewohners eine Intrige. Wie dem auch sei, der kernige und launige Erzähler stellt sich erst vor, als wir Father Lonergan das erste Mal auf der Leinwand sehen, also einige Zeit, nachdem er Szenen erzählt hat, die er sicher nicht selbst miterlebt hat.</i><br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Ford's repertory company actor Ward Bond as Father Lonergan and our not always humble narrator.</i></td></tr>
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<br />Oswald Itenhttp://www.blogger.com/profile/09560644491496569393noreply@blogger.com0tag:blogger.com,1999:blog-6648175802136717086.post-44919366193677169072016-11-25T00:00:00.003-08:002016-11-25T00:00:00.152-08:00FANTASTIC BEASTS AND WHERE TO FIND THEM (Yates, 2016): Audience SurrogateJust when I was convinced that Spielberg exhausted the concept of an "audience surrogate who is <i>not </i>the protagonist" with Short Round in INDIANA JONES AND THE TEMPLE OF DOOM (1984), J.K. Rowling enters the game with No-Maj Kowalski in the first FANTASTIC BEASTS movie to the point where spectators start to question if he was supposed to be the protagonist of this new New York saga which he most certainly is not. But anyway, for muggles new to the Rowling universe, wide-eyed Dan Fogler serves both as comic relief and an American everyman audience surrogate.<br />
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<i>Gerade als ich überzeugt war, dass Spielberg das Konzept des Publikumsstellvertreters, der </i>nicht<i> Hauptfigur ist, mit Shorty in INDIANA JONES AND THE TEMPLE OF DOOM (1984) definitiv auf die Spitze getrieben hat, geht J.K.Rowling mit dem No-Maj Kowalski in FANTASTIC BEASTS soweit, dass sich einige Zuschauer fragen, wer denn jetzt eigentlich der Protagonist dieser neuen New York Saga sei. Auf jeden Fall erfüllt der Dan Fogler mit seinen Kulleraugen sowohl die Funktion des Comic Relief als auch des Publikumsstellvertreters als amerikanischer Durchschnittsbürger.</i><br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Dan Fogler (left) in FANTASTIC BEASTS AND WHERE TO FIND THEM (2016)</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><i>Johnathan Ke Quan as Short Round in TEMPLE OF DOOM (1984)</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><i>Alfred Molina as one of several audience surrogates in RAIDERS OF THE LOST ARK (Spielberg, 1981)</i></td></tr>
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<br />Oswald Itenhttp://www.blogger.com/profile/09560644491496569393noreply@blogger.com0tag:blogger.com,1999:blog-6648175802136717086.post-15218341438180304202016-11-25T00:00:00.000-08:002016-11-25T00:00:27.215-08:00ED WOOD (Burton, 1994): "you must be double-jointed!"For theater and big screen actors, hands are as important a tool as their face. Tim Burton seems to emphasize that aspect in his expressionist staging of<a href="http://www.imdb.com/title/tt0109707/quotes"><b> ED WOOD</b></a>, his gentle take on the friendship of enthusiastic dilettante Edward D. Wood and has-been-Dracula Bela Lugosi. In one scene, Wood even asks Lugosi (lovingly impersonated by Martin Landau), how he did his otherworldly Dracula-thing with his fingers, to which Lugosi replies that "you must be double-jointed. And you must be Hungarian".<br />
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<i>Für Theater- und Filmschauspieler sind die Hände ein ebenso wichtiges Ausdrucksmittel wie das Gesicht. Tim Burton scheint diesen Aspekt mit seiner expressionistischen Inszenierung von ED WOOD, seiner liebevollen Verfilmung der Freundschaft des enthusiastischen Dilettanten Edward D. Wood und dem abgehalfterten Dracula-Darsteller Bela Lugosi, besonders zu betonen. Einmal fragt Wood den von Martin Landau gespielten Lugosi sogar direkt, wie er denn diese übernatürlich wirkende Dracula-Handbewegung hinkriege, worauf Lugosi antwortet, dass man dazu "sehr gelenkig und Ungar sein müsse".</i><br />
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Oswald Itenhttp://www.blogger.com/profile/09560644491496569393noreply@blogger.com0tag:blogger.com,1999:blog-6648175802136717086.post-17856168163226140992016-11-18T00:01:00.000-08:002016-11-18T00:01:31.850-08:00ONIBABA (Shindo, 1964): Wind [Post No.100!]<br />
Shindo Kaneto's independently produced "modern parable" <a href="http://www.imdb.com/title/tt0058430/combined"><b>ONIBABA </b></a>(THE DEMONESS) is mostly taking place "within a claustrophobic sea of grass" (quote from the Masters of Cinema blu-ray cover). And this sea of grass seems to be alive because of a constantly blowing wind. A very oppressive, strange but strangely beautiful film indeed.<br />
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<i>Shindo Kanetos unabhängig produzierte Parabel ONIBABA (Die Dämonin) spielt grösstenteils in einem "klaustrophobischen Meer aus Gras", wie es auf der Blu-ray von Masters of Cinema treffend heisst. Lebendig erscheint dieses Meer aus Gras dank dem konstant wehenden Wind. Ein beklemmender, eigenartiger aber auch eigentartig schöner Film.</i><br />
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<b><span style="color: #cc0000;">[RV] (not for everyone, though)</span></b><br />
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<b><span style="color: #cc0000;"><br /></span></b>Oswald Itenhttp://www.blogger.com/profile/09560644491496569393noreply@blogger.com0tag:blogger.com,1999:blog-6648175802136717086.post-77981618884413835882016-11-18T00:00:00.000-08:002016-11-18T00:00:15.764-08:00THE QUIET MAN (Ford, 1952): WindThe exteriors of John Ford's <a href="http://www.imdb.com/title/tt0045061/locations"><b>THE QUIET MAN</b></a> were largely shot on location in Ireland (in glaring contrast to the unconvincing studio sets for some of the horse race scenes) and sometimes under harsh conditions. The wind particularly adds to the realism and works quite well as a metaphor for heightened perception and inner turmoil, of course. The wind during the stormy kissing scene that Spielberg borrowed so memorably for <a href="http://www.imdb.com/title/tt0083866/movieconnections"><b>E.T. (1982)</b></a> is probably all smoke and mirrors (aka wind machines), though.<br />
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<i>Die Aussenszenen von Fords THE QUIET MAN wurden grösstenteils unter nicht immer einfachen Wetterbedingungen wirklich in Irland gedreht (im Gegensatz zu den unsäglichen Studiosets für einige Szenen während des Pferderennens). Speziell der Wind trägt viel zum Realismus bei und funktioniert natürlich gut als Metapher für intensivere Wahrnehmung und innere Aufgewühltheit. Der Wind während der stürmischen Kussszene, die Spielberg so einprägsam für E.T. (1982) verwendete, ist hingegen wohl eher Schall und Rauch aus der Windmaschine.</i><br />
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<b><span style="color: #cc0000;">[RV] </span></b><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCAhhOyrv0Ht_aV5zy630pmN-ULITlhdcpENFSB2zICiszOApNyVObTfA19yYGujriQ_yChp_0GMJO_iMtFvMuUT_WhVklivryWA3XqPvSsQ3nHVtUCUZc54Q9MerxfGKHc5ILLgeaiX2y/s1600/quietman_wind.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCAhhOyrv0Ht_aV5zy630pmN-ULITlhdcpENFSB2zICiszOApNyVObTfA19yYGujriQ_yChp_0GMJO_iMtFvMuUT_WhVklivryWA3XqPvSsQ3nHVtUCUZc54Q9MerxfGKHc5ILLgeaiX2y/s1600/quietman_wind.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Apparently, Maureen O'Hara went through a lot on the sets of this film.</i></td></tr>
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<b><span style="color: #cc0000;"><br /></span></b>Oswald Itenhttp://www.blogger.com/profile/09560644491496569393noreply@blogger.com0tag:blogger.com,1999:blog-6648175802136717086.post-3162136561825101152016-11-11T00:00:00.001-08:002016-11-11T00:00:11.329-08:00FRANTZ (Ozon, 2016): Subliminal Color ChangesThe less one knows about François Ozon's brilliant black and white movie <a href="http://www.imdb.com/title/tt5029608/combined"><b>FRANTZ </b></a>the better its twists and turns work. It is safe to say, however, that the film makes use of color in connection with flashbacks in a simple but unexpectedly subtle way.<br />
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<i>Je weniger man über François Ozons starken Schwarzweissfilm FRANTZ weiss, desto stärken wirken die überraschenden Wendungen. Nur soviel: der Film setzt Farbe im Zusammenhang mit Flashbacks in einer einfachen aber überraschend subtilen Weise ein. </i><br />
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<span style="color: red;"><b>[MS]</b></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZcemQbxOknNZyLmIy1TBdnh5vY5nWbEIkWypFNeV91zDHS0VOnHqS87VJSI0GLLcO5Z7nbCs8EnNSNvKz8t2OMsvM9lSiOLuQeuMbT8FoR3DMluKNFkGBNjcfvWky6rr7nnwghISLJqSv/s1600/Frantz.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZcemQbxOknNZyLmIy1TBdnh5vY5nWbEIkWypFNeV91zDHS0VOnHqS87VJSI0GLLcO5Z7nbCs8EnNSNvKz8t2OMsvM9lSiOLuQeuMbT8FoR3DMluKNFkGBNjcfvWky6rr7nnwghISLJqSv/s1600/Frantz.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>While the promotional materials strictly showcase the films gorgeous black and white photography, colors are not completely absent.</i></td></tr>
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Oswald Itenhttp://www.blogger.com/profile/09560644491496569393noreply@blogger.com0tag:blogger.com,1999:blog-6648175802136717086.post-68466735344561036452016-11-11T00:00:00.000-08:002016-11-11T00:00:06.241-08:00FINSTERES GLÜCK (Haupt, 2016): the power of "tell, don't show"Stefan Haupt's upcoming literature adaptation FINSTERES GLÜCK is about a middle-aged hospital psychologist who is assigned to help a boy cope with the fact that he lost his family in a car accident. It contains at least one great example of "tell, don't show" in which a character's retelling of a traumatic experience is not visualized through flashback images. This usually reminds me that our imagination conjures up the most powerful images. Besides, we get to see the facial expression of the person who speaks.<br />
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<i>Stefan Haupts kommende Literaturverfilmung FINSTERES GLÜCK handelt von einer Spitalpsychologin mittleren Alters, die einem kleinen Jungen helfen soll, damit umzugehen, dass seine ganze Familie in einem Autounfall ums Leben gekommen ist. Der Film enthält mindestens ein starkes Beispiel von "tell, don't show", wo die Nacherzählung einer traumatischen Begebenheit nicht durch Rückblendenbilder visualisiert wird. In solchen Momenten produziert unsere Vorstellungskraft die stärksten Bilder. Zudem können wir den Gesichtsausdruck der erzählenden Person beobachten.</i><br />
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<b><span style="color: #cc0000;">[RV] </span></b><br />
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Oswald Itenhttp://www.blogger.com/profile/09560644491496569393noreply@blogger.com0tag:blogger.com,1999:blog-6648175802136717086.post-58558533328441157502016-11-04T00:00:00.002-07:002016-11-04T00:00:13.625-07:00KISS ME DEADLY (Aldrich, 1955): Camera and Lights, Please!Like Sam Fuller, Robert Aldrich is a B-movie genre filmmaker whose movies brim over with cinematic style and invention. In KISS ME DEADLY, he achieved a quintessentially lush noir lighting and camera style (cinematography by <a href="http://www.imdb.com/name/nm0005768/?ref_=fn_al_nm_1"><b>Ernest Laszlo</b></a>) within a ridiculously short shooting schedule. There is every effective expressionist technique from creepy underlighting to dramatic wide angles and dutch tilts. In the drug scenes he wisely refrains from distorted flashback imagery, though.<br />
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<i>Wie Sam Fuller ist auch Robert Aldrich ein B-Movie-Genre-Filmemacher, dessen Werke von visuellem Stil und Erfindungsgeist nur so strotzen. In KISS ME DEADLY gelingt ihm eine Art Quintessenz aufwändiger Film Noir Beleuchtung und Bildkompositionen (Kamera: Ernest Laszlo) innerhalb eines extrem engen Produktionszeitplans: von Underlighting bis zu dramatischen Weitwinkel- und Tilt-Bildern finden sich alle expressionistischen Techniken. Einzig von visuell verzerrten Flashbacks in den Drogenszenen lässt er wohlweislich die Finger.</i><br />
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<b><span style="color: #cc0000;">[RV]</span></b> <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjILH8LeH2RRxarwbcnbFu4E8dR1In4dQ3UwcRhJoCBtNii6LKQZRgfoFWA9bLlbWSI7Sz2D6Buh1osFcrxmTTqjuJ8eab9y-0RLko3QSMsnFiFkGYuY5dIdMuk8I647dsvivGIO3d_WUr/s1600/kissme_angles.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjILH8LeH2RRxarwbcnbFu4E8dR1In4dQ3UwcRhJoCBtNii6LKQZRgfoFWA9bLlbWSI7Sz2D6Buh1osFcrxmTTqjuJ8eab9y-0RLko3QSMsnFiFkGYuY5dIdMuk8I647dsvivGIO3d_WUr/s1600/kissme_angles.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Ernest Laszlo certainly knew his expressionist angles...</i></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMvqJUkRjI-Q0JlgXVZ2yZkgb5UVUTXcZdhVv71h-_97KwyJ_kSBwmFDifF_K4kIJabGR14HovDQy2deI2Q_j_zmG_kl9cHTwmI-3f64CaJZGF71FAod4lK1Pb3zKWdGLwHMKmwI-_9J0r/s1600/kissme_lighting.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMvqJUkRjI-Q0JlgXVZ2yZkgb5UVUTXcZdhVv71h-_97KwyJ_kSBwmFDifF_K4kIJabGR14HovDQy2deI2Q_j_zmG_kl9cHTwmI-3f64CaJZGF71FAod4lK1Pb3zKWdGLwHMKmwI-_9J0r/s1600/kissme_lighting.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>...as well as lighting techniques.</i></td></tr>
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<br />Oswald Itenhttp://www.blogger.com/profile/09560644491496569393noreply@blogger.com0tag:blogger.com,1999:blog-6648175802136717086.post-82809949340750862782016-11-04T00:00:00.001-07:002016-11-04T00:00:27.190-07:00KISS ME DEADLY (Aldrich, 1955): Source MusicRobert Aldrich's richly textured film noir <a href="http://www.imdb.com/title/tt0048261/combined"><b>KISS ME DEADLY</b></a> is interesting in many ways beyond its fresh approach to the amoral private dick Mike Hammer. It contains quite an extraordinary sound track, for example. In several scenes, ambient sounds like crashing waves or radio transmissions assume the function of background music. There is an original score, of course. But the filmmakers mainly rely on source music (car-radios, live singers, record players) for the musical accompaniment.<br />
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<i>Robert Aldrichs reichhaltiger Film Noir KISS ME DEADLY ist auch jenseits vom neuartigen Zugriff auf den unmoralischen Protagonisten Mike Hammer in verschiedener Hinsicht interessant. Da ist zum Beispiel die Tonspur: in mehreren Szenen übernehmen Atmo-Geräusche von Wellen oder Radioübertragungen die Funktion der klassischen Filmmusik. Einen Score gibt es zwar schon, die Filmemacher verwenden jedoch hauptsächlich diegetische Musik (Autoradios, Live-Gesang, Plattenspieler) als musikalische Untermalung.</i><br />
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<b><span style="color: #cc0000;">[RV]</span></b><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2ghJbSQTIfXxkoaGkiWt-iauhgs4CeFXM4nA8G2jyfVeVqXZ2c3vIruZbglSh_-wFASSM3ZlvTIG1mcgFJhBvBOAO-Npy_xz5yzYZFBn3_vqly8XhjNiHpG2Id9W8yJUjrITFpQ41tFXK/s1600/kissme_singing.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2ghJbSQTIfXxkoaGkiWt-iauhgs4CeFXM4nA8G2jyfVeVqXZ2c3vIruZbglSh_-wFASSM3ZlvTIG1mcgFJhBvBOAO-Npy_xz5yzYZFBn3_vqly8XhjNiHpG2Id9W8yJUjrITFpQ41tFXK/s1600/kissme_singing.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Ernest Laszlo knew how to light a beautiful singer (top); Mike Hammer is about to commit a sin in any music lover's eyes.</i></td></tr>
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Oswald Itenhttp://www.blogger.com/profile/09560644491496569393noreply@blogger.com0tag:blogger.com,1999:blog-6648175802136717086.post-13307850281578188292016-10-28T00:01:00.000-07:002016-10-28T00:01:05.616-07:00THE QUIET MAN (Ford, 1952): Home is Where We Sing TogetherAlthough I have not been looking for them at all, I keep stumbling upon non-musical films in which characters burst into a song - or in the case of John Ford's sentimental ballad to his ancestors' Ireland <a href="http://www.imdb.com/title/tt0045061/combined"><b>THE QUIET MAN</b></a> quite a few of them. Maybe the characters do not sing as many as in his even more sentimental and beautiful Welsh companion piece<a href="http://www.imdb.com/title/tt0033729/combined"><b> HOW GREEN WAS MY VALLEY (1941)</b></a>, but hearing Mauren O'Hara sing traditionals (in her own voice - unlike many Hollywood leading ladies of her time) is certainly part of the attraction of Fords oldfashioned but nonetheless touching love letter to the fictional Irish village of Inisfree.<br />
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<i>Obwohl ich eigentlich gar nicht danach suche, beschäftige ich mich momentan ständig mit Filmen, in denen die Figuren singen, obwohl es definitiv keine Musicals sind. Im Fall von John Fords Ballade an die irische Heimat seiner Vorfahren, THE QUIET MAN, tragen gleich mehrere Gesangsszenen zur Atmosphäre bei, wenn auch nicht soviele wie im noch schöneren und sentimentaleren walisischen Gegenstück HOW GREEN WAS MY VALLEY (1941). Maureen O'Hara Traditionals singen zu hören, ist jedoch definitiv Teil der Attraktion dieser herrlich altmodischen, aber trotzdem noch immer berührenden Liebeserklärung an das fiktive irische Dörfchen Inisfree.</i><br />
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<b><span style="color: #cc0000;">[RV]</span></b><i> </i><br />
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<i><br /></i>Oswald Itenhttp://www.blogger.com/profile/09560644491496569393noreply@blogger.com0tag:blogger.com,1999:blog-6648175802136717086.post-18028871873645246722016-10-28T00:00:00.000-07:002016-10-28T00:00:06.167-07:00SECRET OF THE INCAS (Hopper, 1954): Yma Sumac sings!Jerry Hopper's <a href="http://www.imdb.com/title/tt0047464/combined"><b>SECRET OF THE INCAS</b></a> is a cheap B-movie with Charlton Heston as a US adventurer named Harry Steele whose costume and mission were among the many inspirations for RAIDERS OF THE LOST ARK (1981). There is absolutely no reason to watch this heap of cardboard clichés devoid of any atmosphere - unless you are a fan of spellbinding Peruvian singer <a href="https://en.wikipedia.org/wiki/Yma_Sumac"><b>Yma Sumac</b></a> who demonstrates her astonishing ability to master almost five octaves all in the same song.<br />
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<i>Jerry Hoppers SECRET OF THE INCAS ist ein billiger Genrefilm mit Charlton Heston als amerikanischem Abenteurer namens Harry Steele, dessen Kostüm und Mission unter anderem den ersten Indiana Jones Film RAIDERS OF THE LOST ARK (1981) inspiriert haben. Eigentlich gibt es keinen Grund, diese atmosphärefreie Ansammlung lauwarmer Klischees anzuschauen - ausser man ist ein Fan der faszinierenden peruanischen Sängerin <a href="https://de.wikipedia.org/wiki/Yma_Sumac"><b>Yma Sumac</b></a>, die hier ihre erstaunliche Fähigkeit unter Beweis stellt, im gleichen Lied über fast fünf Oktaven zu singen.</i><br />
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<br />Oswald Itenhttp://www.blogger.com/profile/09560644491496569393noreply@blogger.com0tag:blogger.com,1999:blog-6648175802136717086.post-61602016867533052512016-10-21T00:00:00.000-07:002016-10-21T00:00:10.533-07:00LE PLAISIR (Ophüls, 1952): Camera unleashedMax Ophüls' films should be mandatory viewing for anybody interested in cinematography. <a href="http://www.imdb.com/title/tt0045034/combined"><b>LE PLAISIR</b></a> consists of three Maupassant stories about <i>le plaisir </i>(the pleasure). There not only magnificent deep focus shots and text book dutch tilts but also complicated tracking shots some of which look like blue prints for Iñárritu's BIRDMAN (2014).<br />
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<i>Wer sich für Kameraarbeit interessiert, kommt an Max Ophüls nicht vorbei. LE PLAISIR verbindet drei Kurzgeschichten über das Vergnügen von Guy de Maupassant. Der Film enthält nicht nur grossartige Deep Focus Einstellungen und Dutch Tilts sondern auch virtuose Kamerafahrten, die bisweilen wie Vorstudien zu Iñárritus BIRDMAN (2014) wirken.</i><br />
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<b><span style="color: #cc0000;">[RV]</span></b><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5rGT4kJS2N2G5xMYWYT5hv9s-5B_tjRTjKZmjbaEDuBYZ-9y-tr1vp1Ur_7tm1hhn-l0cR0eHgUgtN17qCKTD4yqBMEcZz2aUgP1u88qKV3SohgEF-lOZx62Yp_dfsTLm-lGTpNvkZHNP/s1600/plaisir_dutchtilt.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5rGT4kJS2N2G5xMYWYT5hv9s-5B_tjRTjKZmjbaEDuBYZ-9y-tr1vp1Ur_7tm1hhn-l0cR0eHgUgtN17qCKTD4yqBMEcZz2aUgP1u88qKV3SohgEF-lOZx62Yp_dfsTLm-lGTpNvkZHNP/s640/plaisir_dutchtilt.jpg" width="435" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Dutch tilts in the first (bottom) and last (top) episode.</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><i>Unbroken camera move from third person to first person view...</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><i>...of the woman ascending, opening the window and jumping out of it.</i></td></tr>
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Oswald Itenhttp://www.blogger.com/profile/09560644491496569393noreply@blogger.com0tag:blogger.com,1999:blog-6648175802136717086.post-979334675019390852016-09-30T00:01:00.000-07:002016-10-01T01:35:45.011-07:00FINDING DORY (Stanton/MacLane, 2016): POVEver wondered about Dory's backstory? Well, she did, too. No matter whether one considers Stanton's FINDING DORY a sequel or a remake with exchanged characters, it is hard to overlook how many elements from props to compositions and whole scenes are recurring (this IS a film about memories, after all). One of Pixar's groundbreaking additions to animated storytelling was the <a href="https://vimeo.com/140632396"><b>moving point of view shot</b></a> (think JAWS) and FINDING NEMO (2003) was one of the films that used it even more than the original TOY STORY (1995). It is still in heavy use in both parallel narratives of the sequel.<br />
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<i>Egal ob man Andrew Stantons FINDING DORY als Fortsetzung oder Remake mit umgekehrten Vorzeichen versteht: es ist nicht zu übersehen, wieviele Elemente von Gegenständen über Bildkompositionen bis zu ganzen Szenen aus FINDING NEMO (2003) wieder auftauchen (immerhin handelt der Film ja von Erinnerungen und Gedächtnis). Eine von Pixars entscheidenden Neuerungen im Animationsfilm war <a href="https://vimeo.com/140632396"><b>die bewegte point-of-view Einstellung</b></a> (vgl. JAWS). Und FINDING NEMO war einer jener Filme, die dieses Stilmittel noch stärker nutzten als die erste TOY STORY (1995). Auch in der Fortsetzung kommt die visuelle Ich-Perspektive in beiden Erzählsträngen deutlich zum Einsatz.</i><br />
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<b><span style="color: #cc0000;">[RV] </span></b><br />
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<br />Oswald Itenhttp://www.blogger.com/profile/09560644491496569393noreply@blogger.com0tag:blogger.com,1999:blog-6648175802136717086.post-29850465065460932392016-09-30T00:00:00.001-07:002016-10-01T01:35:18.193-07:00FINDING NEMO (Stanton, 2003): POV Flash ForwardAndrew Stanton's FINDING NEMO had one formally unexpected scene that felt so natural most people probably do not remember it. While TOY STORY introduced us to<b> <a href="https://vimeo.com/140632396">the moving point-of-view shot</a>,</b> NEMO took it one step further and integrated it into a <i>first person plural point-of-view in a flash forward!</i><br />
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<i>Andrew Stantons FINDING NEMO enthielt eine formal unerwartete Szene, die aber so natürlich wirkte, dass sich wohl die wenigsten Zuschauer aktiv daran erinnern. Während TOY STORY die <b><a href="https://vimeo.com/140632396">bewegte Ich-Perspektive im Animationsfilm</a> </b>zum Stilmittel erhob, ging NEMO einen Schritt weiter und baute diese aus zu einer "Wir-Perspektive" in einem Flash Forward (also nicht "Rück-" sondern "Vorwärtsblende").</i><br />
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<b><span style="color: #cc0000;">[RV] </span></b><i><br /></i><br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Collective "we" POV in a flash forward showing mastermind Gill's escape plan.</i></td></tr>
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<br />Oswald Itenhttp://www.blogger.com/profile/09560644491496569393noreply@blogger.com0tag:blogger.com,1999:blog-6648175802136717086.post-73460470353533823262016-09-23T00:00:00.000-07:002016-09-23T00:00:02.003-07:00MOBY DICK (Huston, 1956): Sea ShantiesJohn Huston's adaptation of <a href="http://www.imdb.com/title/tt0049513/combined"><b>MOBY DICK</b></a> is a great example of how characters bursting into shanties, hymns and work songs contribute to the atmosphere of an adventure film that could never be confused with a musical.<br />
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<i>John Hustons Verfilmung von MOBY DICK ist ein gutes Beispiel dafür, dass singende Figuren einem Abenteuerfilm Atmosphäre verleihen können, ohne dass jemand an ein Musical denken würde.</i><br />
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<b><span style="color: #cc0000;">[RV] </span></b><br />
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<tr><td class="tr-caption" style="text-align: center;"><i>People singing in the tavern and in church in Huston's trademark dynamic wide-angle compositions.</i></td></tr>
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<b><span style="color: #cc0000;"><br /></span></b>Oswald Itenhttp://www.blogger.com/profile/09560644491496569393noreply@blogger.com0tag:blogger.com,1999:blog-6648175802136717086.post-41842867447451028482016-09-16T00:00:00.000-07:002016-09-16T00:00:29.970-07:00THE WORLD'S END (Wright, 2013): Car wipesEdgar Wright is doing comedy like almost no one else. He can pull off the most preposterous concepts by throwing all the flashy effects at us that feel so annoying in other people's films. In THE WORLD'S END, Simon Pegg persuades his school buddies into reliving their final pub crawl in their small home town (which is about all you should know upfront, because anything else would qualify as a spoiler). Transitions between scenes, locations and even within scenes are often achieved by "natural" wipes using moving objects to splice shots together. In this film, he mostly relies on cars that drive by and reveal a new location or camera angle.<br />
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<i>Edgar Wright inszeniert Komödien in ganz eigener Weise. Auch absurdeste Konzepte verkauft er uns, indem er mit all den Effekten um sich wirft, die in anderer Leute Filme hauptsächlich nerven. In THE WORLD'S END überredet Simon Pegg seine ehemaligen Schulkollegen, ihre letzte gemeinsame Sauftour in ihrer kleinen Heimatstadt noch einmal zu wiederholen. Übergänge zwischen Szenen, Orten und sogar innerhalb von Szenen geschehen oft anhand von "natürlichen" Wisch-Blenden, also sich bewegenden Objekten, deren Bewegung genutzt wird, um zwei Einstellungen zusammenzuschneiden. Besonders gern benutzt Wright in diesem Film vorbeifahrende Autos, hinter denen jeweils neue Schauplätze or Blickwinkel auftauchen.</i><br />
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<b><span style="color: #cc0000;">[RV] </span></b><br />
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<br />Oswald Itenhttp://www.blogger.com/profile/09560644491496569393noreply@blogger.com0tag:blogger.com,1999:blog-6648175802136717086.post-32515956414956650982016-09-09T00:00:00.000-07:002016-09-09T00:00:30.654-07:00THE NAKED ISLAND (Shindo, 1960): Live-action without dialogueShindo Kaneto's "cinematic poem" THE NAKED ISLAND is one of the few realist live-action films that contain almost no dialogue. In gorgeous scope cinematography, the film shows us a small family living off the land of an arid small Island on the Setonaikai archipelago in south-west Japan. Except for a few emotional exclamations, we only hear school children, villagers and a non-diegetic female voice sing a few folk-songs. Music as well as foley and atmospheric sounds are present throughout. However, the characters are mostly defined by how they manage their daily chores.<br />
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<i>Shindo Kanetos "filmisches Gedicht" THE NAKED ISLAND ist einer von wenigen realistischen Realfilmen, die fast ganz ohne Dialog auskommen. In grossartigen Scope-Bildern zeigt uns der Film eine Kleinfamilie, die auf einer kargen Insel auf dem Setonaikai Archipel im Südwesten Japans lebt. Ausser emotionalen Ausrufen hören wir nur Schulkinder, Dorfbewohner und gelegentlich eine extradiegetische Frauenstimme Volkslieder singen. Musik sowie Bewegungs- und Umgebungsgeräusche sind jedoch dauernd vorhanden. Die Figuren hingegen werden durch die Art charakterisiert, wie sie ihre täglichen Arbeiten verrichten.</i><br />
<i> </i><br />
<b><span style="color: #cc0000;">[RV] (again testing the patience of some, as there is hardly a story at all. But it lets you glimpse into an archaic microcosm)</span></b><br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Blu ray screenshots lifted from dvdbeaver.com</i></td></tr>
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<b><span style="color: #cc0000;"><br /></span></b>Oswald Itenhttp://www.blogger.com/profile/09560644491496569393noreply@blogger.com0tag:blogger.com,1999:blog-6648175802136717086.post-32208914220925013122016-09-02T00:00:00.000-07:002016-09-02T00:00:22.456-07:00LA TORTUE ROUGE (Dudok de Wit, 2016): Gorgeously Minimalistic ColorsIn my opinion, master animator Michael Dudok de Wit's first feature LA TORTUE ROUGE (THE RED TURTLE) is one of the year's most beautiful cinematic experience. Its myth-like archetypal story is matched by a luscious visual style that still retains Dudok de Wits trademark minimalism that evokes emotions by insinuations and blank space. Over the course of the film, there are lighting conditions in practically any shade of color. However, the individual compositions are dominated by only one or two hues which re-inforce the larger basic shapes.<br />
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<i>Meiner Meinung nach ist LA TORTUE ROUGE, der erste Langfilm des Meisteranimators Michael Dudok de Wit, eines der schönsten Kinoerlebnisse des Jahres. Die einfache, archetypische Geschichte wird in reichen Bildern erzählt, die nichtsdestotrotz von Dudok de Wits typischem Minimalismus zeugen, mit dem er anhand von Andeutungen und Leerstellen Gefühle auslöst. Über die gesamte Laufzeit kommen Lichtstimmungen in praktisch allen erdenklichen Farben vor. Die einzelnen Bildkompositionen werden jedoch von nur ein oder zwei Farbtönen dominiert, welche wiederum die übergeordneten grossen Formen betonen.</i><br />
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<span style="color: red;"><b>[MS] (without emotional close ups or dialogue, this may test the patience of some. Nevertheless, I throroughly recommend watching it on the big screen.)</b></span><br />
<span style="color: red;"><b><br /></b></span>
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<span style="color: red;"><b><br /></b></span>Oswald Itenhttp://www.blogger.com/profile/09560644491496569393noreply@blogger.com0tag:blogger.com,1999:blog-6648175802136717086.post-17683390501244249792016-08-26T00:00:00.000-07:002016-08-26T00:00:04.253-07:00IL PORTIERE DI NOTTE (Cavani, 1974): Aural FlashbackDo not take <a href="http://www.imdb.com/title/tt0071910/combined"><b>IL PORTIERE DI NOTTE </b></a>too seriously. It already does that enough itself. But Italian movies (apparently people used to speak English at the Vienna opera house in 1957) are often treasure troves for interesting if non-realistic sound choices. Among all the visual flashes, there is a short but important aural flashback that relays some important information which is a relief after some awkwardly delivered explanatory dialogue in earlier scenes.<br />
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<i>Man sollte IL PORTIERE DI NOTTE nicht zu ernst nehmen. Der Film tut das selbst schon genügend. Aber italienische Filme (an der deutsch angeschriebenen Wiener Oper sprach man scheinbar 1957 englisch) sind oft eine Fundgrube für Freunde des interessanten wenn auch kaum realistischen Sound Designs. Zwischen all den visuellen Rückblenden versteckt sich eine kurze aber entscheidende akustische Rückblende, die tatsächlich wichtige Informationen enthält, während in früheren Szenen Erklärungen ziemlich künstlich in die Dialoge gezwängt wurden.</i><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgUeR4BuB3atJyI-yqW4Lqj5Rf1Qout13TSyL8m4hMlA-8l4TQaYB_BoI18dEu537nRiA90MC82ayM3EolFkAcBWwNAwBmZQgGTkDz4_KAi4lFzVy0IoLPDJNlgIlgS4Zj_W_aJUwnG9YC/s1600/title_the_night_porter_blu-ray_.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="344" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgUeR4BuB3atJyI-yqW4Lqj5Rf1Qout13TSyL8m4hMlA-8l4TQaYB_BoI18dEu537nRiA90MC82ayM3EolFkAcBWwNAwBmZQgGTkDz4_KAi4lFzVy0IoLPDJNlgIlgS4Zj_W_aJUwnG9YC/s640/title_the_night_porter_blu-ray_.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>I was not able to take screenshots from this disc.</i></td></tr>
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<br />Oswald Itenhttp://www.blogger.com/profile/09560644491496569393noreply@blogger.com0tag:blogger.com,1999:blog-6648175802136717086.post-58812164431027920022016-08-19T00:01:00.000-07:002016-08-19T00:01:34.415-07:00PRIDE & PREJUDICE (Wright, 2005): Long TravellingsIn the wake of Brian De Palma's and Martin Scorsese's films, the long travelling take (not to be confused with the sustained long shot of actors moving around within the frame or even a "plan sequence") has become increasingly popular. Joe Wright seems to be particularly partial to it up to the point where it feels forced like in ATONEMENT (2007). In Wright's magnificent version of <a href="http://www.imdb.com/title/tt0414387/combined"><b>PRIDE & PREJUDICE,</b></a> however, the many long tracking shots feel completely organic and do not draw attention to themselves.<br />
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<i>Im Gefolge der Filme von DePalma und Scorsese ist die lange Kamerafahrt (nicht mit statischen langen Einstellungen von Figuren, die sich innerhalb des Bildes bewegen, oder gar Plansequenzen zu verwechseln) zunehmend beliebt geworden. Joe Wright scheint eine besondere Vorliebe für solche Fahrten zu haben, die bisweilen auch aufgesetzt wirken wie beispielsweise in ATONEMENT (2007). In seiner grossartigen Verfilmung von PRIDE & PREJUDICE wirken die vielen langen Kamerafahrten jedoch völlig organisch und ziehen keine Aufmerksamkeit auf sich.</i><br />
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<span style="color: red;"><b>[MS]</b></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXlVZPrP6m5k-Um9o9vN7xmnJB68lsm4dbgNmUyoL03mrQsb2VxmwlFAE4Bq1qnYIeGsohkinFwi6dfTV0rySLnIJ_qAsr4b-9OCMJF4hou22a0QatD00quk1-ycdEsABEOEiUWlB114vW/s1600/PridePrejey_longtake.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXlVZPrP6m5k-Um9o9vN7xmnJB68lsm4dbgNmUyoL03mrQsb2VxmwlFAE4Bq1qnYIeGsohkinFwi6dfTV0rySLnIJ_qAsr4b-9OCMJF4hou22a0QatD00quk1-ycdEsABEOEiUWlB114vW/s1600/PridePrejey_longtake.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The first long traveling shot during the exposition (1:26 minutes)</i></td></tr>
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Oswald Itenhttp://www.blogger.com/profile/09560644491496569393noreply@blogger.com0