Must-sees for any movie buff?
The Art of Movie Stills’ Film Studies 101
From the Lumières at the start of it all; through the silent period; onto various classic films that define film language at its formative stage and the Golden Age of Hollywood; a survey of New Wave cinemas of France, Germany, Japan, the United States, and Hong Kong; various independent movements; and finally, recent developments showcasing the possibilities of film.
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L’Arrivée d’un train en gare de La Ciotat (The Arrival of a Train at La Ciotat Station) | The Lumière Brothers | 1895
Workers Leaving the Lumière Factory | The Lumière Brothers | 1895
A Trip to the Moon | Georges Méliès | 1902
Les Vampires | Louis Feuillade | 1915-1916
Intolerance | D.W. Griffith | 1916
Sherlock Jr. | Buster Keaton | 1924
Sunrise: A Song of Two Humans | F.W. Murnau | 1927
The Passion of Joan of Arc | Carl Theodor Dreyer | 1928
The Docks of New York | Josef von Sternberg | 1928
Un Chien Andalou | Luis Buñuel | 1929
M | Fritz Lang | 1931
L’Atalante | Jean Vigo | 1934
Modern Times | Charlie Chaplin | 1936
Bringing Up Baby | Howard Hawks | 1938
The Rules of the Game | Jean Renoir | 1939
Stagecoach | John Ford | 1939
Citizen Kane | Orson Welles | 1941
Casablanca | Michael Curtiz | 1942
Meshes of the Afternoon | Maya Deren | 1943
The Third Man | Carol Reed | 1949
Late Spring | Yasujirô Ozu | 1949
Rashomon | Akira Kurosawa | 1950
Ace in the Hole | Billy Wilder | 1951
Diary of a Country Priest | Robert Bresson | 1951
Umberto D. | Vittorio De Sica | 1952
Seven Samurai | Akira Kurosawa | 1954
Bigger Than Life | Nicholas Ray | 1956
The Seventh Seal | Ingmar Bergman | 1957
Vertigo | Alfred Hitchcock | 1958
Psycho | Alfred Hitchcock | 1960
L’Avventura | Michelangelo Antonioni | 1960
Breathless | Jean-Luc Godard | 1960
La Jetée | Chris Marker | 1962
Jules and Jim | François Truffaut | 1962
8½ | Federico Fellini | 1963
Pierrot le Fou | Jean-Luc Godard | 1965
Persona | Ingmar Bergman | 1966
Branded to Kill | Seijun Suzuki | 1967
Bonnie and Clyde | Arthur Penn | 1967
The Graduate | Mike Nichols | 1967
2001: A Space Odyssey | Stanley Kubrick | 1968
The Last Picture Show | Peter Bogdanovich | 1971
Chinatown | Roman Polanski | 1974
The Conversation | Francis Ford Coppola | 1974
Ali: Fear Eats the Soul | Rainer Werner Fassbinder | 1974
The Mirror | Andrei Tarkovsky | 1975
Nashville | Robert Altman | 1975
Taxi Driver | Martin Scorsese | 1976
Opening Night | John Cassavetes | 1977
Killer of Sheep | Charles Burnett | 1977
Annie Hall | Woody Allen | 1977
Days of Heaven | Terrence Malick | 1978
The Shining | Stanley Kubrick | 1980
Blade Runner | Ridley Scott | 1982
Paris, Texas | Wim Wenders | 1984
Mystery Train | Jim Jarmusch | 1989
Close-Up | Abbas Kiarostami | 1990
The Three Colors Trilogy | Krzysztof Kieślowski | 1993-1994
Chungking Express | Wong Kar-wai | 1994
Boogie Nights | Paul Thomas Anderson | 1997
Beau Travail | Claire Denis | 1999
Werckmeister Harmonies | Béla Tarr | 2000
Mulholland Drive | David Lynch | 2001
Lost in Translation | Sofia Coppola | 2003
Caché | Michael Haneke | 2005
The Tree of Life | Terrence Malick | 2011
Holy Motors | Leos Carax | 2012
Day #171: Mr Gaw-det...
… you Americans always butcher the French language. It’s frigging ‘Gow-day’. Mr Gaudet. Tay Tay, back me up.
We’re reading Property in English. It’s a good read if you like books. I don’t. Speaking of, don’t know if I’ve mentioned this, but my phone has whole books on it! Digital copies of course, technologically impaired duck, but a rather good selection! I got Dracula, The Scarlet Letter, Jane Eyre, Alice’s Adventures In Wonderland, A Tale Of Two Cities, and this random one about wolves or something. I’ve had a browse, but words are difficult. I’m tired.
English was a joke. Good old Joyce tried to get us to do an essay after the break but everyone just went ‘NO’ so she gave it to us for homework. Hands up who’s going to do it… no one? Ok! Joycey was all, ‘I’m not normally such a pushover…’ and I was like oh what EVER Joyce! She always lets us go fifteen minutes before the end because twenty minutes in everyone’s suicidal. Three hours of lit on a Friday afternoon is my definition of FML. After my book fell on the floor that was it for me and I spent the rest of the lesson eating cherry drops and drawing a piss take picture of our film class with Pip. If film is a doss subject, it’s a boss doss.
TOTD: quikipedia - ‘Loch Ness is long enough and deep enough to hold the entire human population of the world more than 18 times over’
#booksforcwistmas?
Film School Thesis Statement Generator
wonder-tonic.comThe use of the male gaze in Ferris Bueller’s Day Off reduces the canonical status of the post-war crisis of masculinity.
god dammit cameron!
“In many ways, a film historian’s greatest fantasy would be to somehow glimpse the audiences who originally viewed the historical films we study. Films are made to be watched, and without a sense of the original audience our grasp on films as historical documents remains incomplete. Even when films have survived, their audiences have mostly vanished beyond our reach.”
—Tom Gunning - Making Sense of Film
According to Gaye Williams Ortiz, in 2007, of the films that grossed over $9 billion:
- 94% had no female directors
- 82% had no female writers
- 98% had no female cinematographers
Think about that.
“Paint It Black” is a brief PDF essay about the use of color in the films of David Fincher. Most of the topics and points covered are discussed on audio commentaries, but the effort of organizing and juxtoposing images side by side does serve in percolating thoughts about Fincher’s mastery of the frame.
“Paint it Black” is part of the “Fincher Film School”, and at nine pages it’s brief enough to enjoy without much pause.
via (fincher-fantatic)
Day #186: Dear God man, you're wearing crocs!
Viva showed the AMAs this evening. I watched. Was possibly the most tedious and uneventful award show I’ve ever seen. Everyone presenting messed up their lines and/or made shite jokes. Bieber sang in the wrong key. Somehow Nicki Minaj got TWO awards (not zero, TWO). Katy Perry (notoriously piss poor live) got a standing ovation for screaming with a tacky pink guitar. I’m pretty sure I wasn’t the only one silently praying for Kanye when Taylor Swift won artist of the year (I mean seriously, what the MOTHERFUDGE has she done this year?) and acted all surprised (I didn’t have to act) like she does EVERY TIME. Change the tune love, it’s starting to make you look like a sarcastic betch. No hate
