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Welcome to L.This is a paragraph of text that could go in the sidebar.The following interview appears here for the first time in English.Q: A typical opening question: which critics, writers, films or books inspired you to become a film critic?Which are your the canonical names and texts?Does this relative dislocation from some of the important sources of contemporary film, Europe and the States, somehow affect your critical work?La, a Utopia to strive for!Movie Mutations was about the joy and possibility liberated in trying to knit up your own community beyond your national border.Film Festivals (such as Rotterdam).Can you see any tangible signs of this happening?If so, what are the principal criteria and critical tools that enable such decisions?Is this relevant or should we embrace the desire to love films only because of their Beauty, disregarding their contents and context?Is this belief fundamentally wrong?AM: Yes, it is fundamentally wrong!Is this the golden age for the everyday cinephile, despite the fact that the real sites of popular cinema are rapidly disappearing, and being replaced by either monolithic multiplexes or the elite and mobile festival cultures?Did VHS really change film criticism?Australian films or authors, worth watching (for)?There have been a few good films, distinctive and original, over the past few years, like The Proposition (John Hillcoat) and Ten Canoes (Rolf De Heer), that have traveled both to festivals and some arthouse or mainstream cinemas around the world.In case you haven't noticed it yet, he has a previously unpublished piece, "Chantal Akerman: Walking Woman," in the Contemplative Cinema blogathon.About the illustration, is it about some kind of connectivity?Those three words are pretty great.I've come close to is "writing" image essays, like, for example, this and this and maybe this, which I keep thinking about, clearly.Adrian's hopeful words for the global community and world film culture.The imperialism of American and French intelligentsia must be challenged by the voices of the "minority", that's for sure.English is the international language.English cultures on the international stage of film commentary or the blogosphere.French internet is the only one I know.It's amazing to see Adrian Martin being published all around the world, translated in German, Spanish...Harry, I really resonate with the concerns you raise.I've often wondered: how could there NOT be armies of cinephiles in Iran or Romania or Taiwan or Senegal who are writing about films on the Internet in languages other than English?Is there some kind of 'imbalance' out there that you've noticed in this regard?This was a fascinating read Girish so many thanks for sharing it here.Even the Frenchies are not many on the English blogosphere.Also thanks to Keith Uhlich for unearthing this essay by Adrian on Kiarostami in 16:9; I'd never seen it before.Thanks for this text by Adrian on Kiarostami.Thanks for this, it was terrific.Harry, I've had a similar experience as you with French filmblogs.Ivandub, here's the schedule to the NYU seminar, courtesy Adrian.Rosenbaum pertinent to tomorrow's presentations (to be announced)Friday 14 (Kimmel).Lumpenproletariat and the Avant Garde.Hollywood classical cinema ensued with the audience.Arthur Nolletti (of Reframing Japanese Cinema) on Gosho, following a screening of An Inn at Osaka.Also, I hear Peter Kubelka's lectures are unusual and memorable...?Discontinuous viewing was his preferred way of watching a movie, a method he shared with Godard."Movie Mutations Festival), talking so vividly about how the first and last scenes of DEAD MAN (which had opened the festival) mirror or invert each other exactly, and how the whole film is thus the 'passage of this fold'.Girish, the PFA in Berkeley has been doing a "closely watched films" series in which a filmmaker presents his or her own film and talks about each scene, like a live director commentary.I've only seen one of these, Tropical Malady.Adrian, I noticed that Philippe Grandrieux's recent music video for Marilyn Manson ("Putting Holes in Happiness", 2007) is on youtube.Yeah, I'll sum up the fest at the end.Rosenbaum NYU seminar will be open to the general public?Finally allowing myself to read a few blogs now that I'm back from Utah (even though I have more writing I want to complete).I've always been conflicted when hearing about closed cinephile societies like CineMasters and Karagarga; a part of me is envious and wonders what it would take for me to become part of something so privileged and seductive.But I'm fundamentally more inspired by a cinephilia that is inclusive, not exclusive.I've not seen that film yet so I hope to make it.This is true for me too, Brian.But this past year, thanks to Darren's 1st Thursday blog, there must've been about 20 cinephiles who met up in small overlapping subsets.Hey Brian, thanks for the background.I'm glad to hear that I've only missed one.She notched up an astonishing 19 titles as director beginning in 1967, most of them feature length.And herein lies a world of possibilities that has scarcely been touched by the producers of DVDs, even among the most distinguished and scholarly labels.When VHS began to be phased out for DVD, a common expression of relief among critics, teachers, and fans of cinema was: "Now we can find a scene instantly, without all that fiddly back and forth in fast speed!"It is, very frequently, a highly frustrating business, whether for scholars or ordinary consumers.Let us take a random, typical example: Ang Lee's stirring Crouching Tiger, Hidden Dragon (2000), from Columbia TriStar Home Entertainment.What is the difference between a scene and a sequence, as the collocation of several scenes?How do we tabulate passages built out of the alternation between two or more scenes?At stake, finally, was an entire conceptualization of narrative and its material, cinematic articulation.Remember, there is no technical reason for any DVD to ever restrict itself to only one such commentary.One occasionally stumbles upon a particularly ingenious and creative DVD segmentation.Drunk Love (2002, Columbia TriStar), for example, I can only imagine that director Paul Thomas Anderson himself made the radical decision to slice up certain sections of the film according to its musical score, not its traditional, narrative scene divisions.Often, this stingily "pragmatic" logic limits what can be conceived.Japanese edition provides, another layer to identify the many quotations (of all kinds) in the work.Adrian Martin is Senior Research Fellow in Film and Television Studies, Monash University (Australia).Burch, on the other hand, is an arch modernist.Jonathan Rosenbaum or Nicole Brenez.
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