Talking about Slow Cinema: TURIN HORSE (Tarr, 2012)

Disclaimer: This is a continuation of a collection of my thoughts for a personal film portfolio; ideas deriving from Ira Jaffe’s Slow Movies (2014): ‘Introduction’ and Ch. 7 ‘Rebellion’s Limits’. In a symposium in 2007 devoted to Béla Tarr’s cinema, David Bordwell stated that “we want a cinema that puts the brakes on, slows things down. What we have to start doing if we want … Continue reading Talking about Slow Cinema: TURIN HORSE (Tarr, 2012)

A REFLECTION: Palindromes (2004, Solondz)

Disclaimer: This is a continuation of a collection of my thoughts for a personal film portfolio; ideas deriving from Gerald Sim, The Subject of Film and Race (2014): Introduction ‘What Is Critical Race Film Studies?’ and Chapter 3 ‘Post-Structuralism and the Neo-Marxian Subject’. In Gerald Sim’s book, he begins his introduction with a primal question that is asked of cinema: “is it racist?”. It is … Continue reading A REFLECTION: Palindromes (2004, Solondz)

Resource and Environmental Degradation: LESSONS OF DARKNESS (Herzog, 1992)

Disclaimer: This is a continuation of a collection of my thoughts for a personal film portfolio; ideas deriving from Nadia Bozac’s, The Cinematic Footprint (2012): ‘Introduction’ and Ch. 2 ‘Resource’. In Lessons of Darkness, Herzog’s genre-bending strategies and unconventional approach to cinema separates his documentary from the conventional; merging – as Bozac writes – nonfiction and fiction, the real world with the imaginary, to capture … Continue reading Resource and Environmental Degradation: LESSONS OF DARKNESS (Herzog, 1992)

The Avant-Garde Documentary: LEVIATHAN (Castaing-Taylor & Paravel, 2012)

Disclaimer: This is a continuation of a collection of my thoughts for a personal film portfolio; ideas deriving from Scott McDonald, Avant-Doc (2015): ‘Introduction’ and section on ‘Sensory Ethnography’. Castaing-Taylor & Paravel’s Leviathan offers an affectual and physical experience through documentary style, but diverts from the conventional documentary through its experimental camera work and desire to depict raw reality. The Sensory Ethnography Lab formed by … Continue reading The Avant-Garde Documentary: LEVIATHAN (Castaing-Taylor & Paravel, 2012)

Disgust and Mise-en-Scène: THE COOK, THE THIEF, HIS WIFE AND HER LOVER (1989, Greenaway)

Disclaimer: This is a continuation of a collection of my thoughts for a personal film portfolio; ideas deriving from Eugenie Brinkema, The Forms of the Affects (2014): ‘Preface: Ten Points to Begin’, Ch. 2 ‘Film Theory’s Absent Centre’, Ch. 6 ‘Disgust and the Cinema of Haut Goût’ and UNSW lecture conducted by Julian Murphet (8 April 2016). A traditional definition on affect derives from its resistance … Continue reading Disgust and Mise-en-Scène: THE COOK, THE THIEF, HIS WIFE AND HER LOVER (1989, Greenaway)

A REFLECTION: Boarding Gate (2007, Assayas)

Disclaimer: This is a continuation of a collection of my thoughts for a personal film portfolio; ideas deriving from Steven Shaviro’s Post-Cinematic Affect (2010): ‘Introduction’ and ‘Boarding Gate’. On the surface, Oliver Assayas’ Boarding Gate (2007) is not remarkable – it is riddled with  a thin plot and vague characters – two elements that can make the dismissal of the B-grade thriller easy. But looking … Continue reading A REFLECTION: Boarding Gate (2007, Assayas)

The Animal to the Animation: King Kong (1933, Cooper & Schoedsack)

Disclaimer: This is a continuation of a collection of my thoughts for a personal film portfolio; ideas deriving from Karen Beckman’s Animating Film Theory (2014) and Julian Murphet’s ‘King Kong Capitalism’ in Animal, Life and the Moving Image (2015). “It was Beauty who killed the Beast” is the final line of dialogue as King Kong (1933) closes off its monstrous adventure tale, and it becomes clear … Continue reading The Animal to the Animation: King Kong (1933, Cooper & Schoedsack)

A REFLECTION: Nosferatu (Murnau, 1922)

Disclaimer: This is a collection of thoughts for my personal film portfolio; ideas deriving from Anton Kaes’s Shell-Shock Cinema:  Weimar Culture and the Wounds of War (2010): ‘Introduction’ and ‘The Return of the Undead’ & UNSW lecture conducted by Julian Murphet (March, 2016). The effects of the war on national identity are on full scrutiny in Murnau’s Nosferatu – the shellshocks of Weimar Germany – … Continue reading A REFLECTION: Nosferatu (Murnau, 1922)