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  • Goodbye, Dragon Inn

    Goodbye, Dragon Inn 2003

    ★★★★½ Watched 19 Jun, 2016

    "To watch a Tsai film is to watch duration, to be forced to extend a frame beyond its normal limits. Placed in the context of slow cinema, Tsai signifies perhaps one of the most extreme cases before considering the world of avant-garde filmmakers. A filmmaker like Hou Hsiao-Hsien may be slow, but there is constant movement and constant story within his frames. Bela Tarr almost always has his camera tracking toward something. Tsai, for the most part, is willing to…

  • The Misfits

    The Misfits 1961

    ★★★★ Rewatched 09 Jun, 2016

    Or: The Death of Hollywood Classical Cinema. Discussed with Independent Stardom's Emily Carman on the latest episode of the podcast.

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  • Moonrise Kingdom

    Moonrise Kingdom 2012

    ★★★★★ Rewatched 04 Aug, 2013 4

    I could talk about how this film's structure finally achieves the blissful melancholy that has been at the heart of all of Wes Anderson's films. I could talk about the precision of his framing and tracking shots, and how often he finds visual comedy through a perfect edit, or the slight entrance of new material into the frame. I could talk about how depressing the film is, the hints of both a traumatizing past, and that in a way, Sam…

  • Magic Mike XXL

    Magic Mike XXL 2015

    ★★★★ Watched 29 Jun, 2015 11

    "In the history of photography and film, getting the right image meant getting ones that conformed to the prevalent ideas of humanity. This included whiteness, of what colour—what range of hue—white people wanted white people to be....Movie lighting assume, privilege, and construct whiteness" —Richard Dyer, "Lighting For Whiteness"

    The history of Hollywood in many ways is the history of the construction of whiteness. This goes beyond simply films that have depicted African Americans in stereotypes or margnizaled their roles in…