...Thompson is hardly an anarchist. Her analysis is systematic, following her critical assumption that films are systematically unified, with devices on a variety of levels (narrative, stylistic, and ideological) subordinated to an organizing "dominant". It is her sense of these interrelations that make Thompson impatient with easy satisfaction of interpretation."--- Tom Gunning on Kristin Thompson's Breaking the Glass Armor: Neoformalist Film Analysis. (Film Quarterly, Vol. 43, No. 3 (Spring, 1990) pp. 52-54) (here)
Ciao!
***
Still reading it, hope to make my own one for December, probably on Tokyo Story (1953), Children of Paradise (1945), La Grande Illusion (1937), Seven Samurai (1953), and
Breathless (1960), Serbis (2008), and tsadaaan... 2012 (Emmerich, 2009).
Flexibility of Neoformalist approach is highly intriguing. I love it! But it needs to be tested like many other theory.
Ciao2x!
***
University of the Philippines - Film Institute (UPFI) has a new website, at last! I have been waiting for this like about one year ago. Applause! Applause! Applause! [here!]
Perhaps the most unexpected cinematic adventure i had this week, apart from some good old porn classics and Rolland Emmerich's bombastic 2012 (2009) which most of my friends like, was Manila (Martin and Alix, 2009) [here, here, and here], the almost five-hour contemplative epic Now Showing (Martin, 2008) [here, Ogg's here, Alexis' here, Harry's here, Cahiers' here, and here], and the In Memoriam: Alexis Tioseco specials: John Giavato's Profit Motive and the Whispering Wind (2007), and A Candle (For Alexis and Nika) (2009), and Bontoc Eulogy (Fuentes, 1995). I am not surprised mainly because of their aesthetics but the superlative reason of watching all films at UPFI Cine Adarna and the Videoteque almost alone. It is somehow not a rewarding experience at all.
Saturday last week I was pumped up on watching Emmerich's 2012 with friends, and the Trinoma cinema was full, the audiences were shrieking, kicking and gasping altogether, such a wonderful experience on a very ordinary film! However, upon watching Now Showing at UPFI's Videoteque, I watched it alone in a cold, dark room, and I am sad that I am alone, why am I alone watching a big film, an important film by Raya Martin, why? Though I prefer to watch DVDs in my dorm room alone, I can never ever forget watching such a film in a small video room in solitude! Have all people gone on strike! Where did all the people go! Where oh where! Cinema, for me, died on that day, November 18 of 2009, on that room! I killed myself right after that by eating a piece of meat (of course, you must know that I don't eat meat at all for about six months now!). ;-(
Ciao! T.T
***
Still reading it, hope to make my own one for December, probably on Tokyo Story (1953), Children of Paradise (1945), La Grande Illusion (1937), Seven Samurai (1953), and
Breathless (1960), Serbis (2008), and tsadaaan... 2012 (Emmerich, 2009).
Flexibility of Neoformalist approach is highly intriguing. I love it! But it needs to be tested like many other theory.
Ciao2x!
***
University of the Philippines - Film Institute (UPFI) has a new website, at last! I have been waiting for this like about one year ago. Applause! Applause! Applause! [here!]Perhaps the most unexpected cinematic adventure i had this week, apart from some good old porn classics and Rolland Emmerich's bombastic 2012 (2009) which most of my friends like, was Manila (Martin and Alix, 2009) [here, here, and here], the almost five-hour contemplative epic Now Showing (Martin, 2008) [here, Ogg's here, Alexis' here, Harry's here, Cahiers' here, and here], and the In Memoriam: Alexis Tioseco specials: John Giavato's Profit Motive and the Whispering Wind (2007), and A Candle (For Alexis and Nika) (2009), and Bontoc Eulogy (Fuentes, 1995). I am not surprised mainly because of their aesthetics but the superlative reason of watching all films at UPFI Cine Adarna and the Videoteque almost alone. It is somehow not a rewarding experience at all.
Saturday last week I was pumped up on watching Emmerich's 2012 with friends, and the Trinoma cinema was full, the audiences were shrieking, kicking and gasping altogether, such a wonderful experience on a very ordinary film! However, upon watching Now Showing at UPFI's Videoteque, I watched it alone in a cold, dark room, and I am sad that I am alone, why am I alone watching a big film, an important film by Raya Martin, why? Though I prefer to watch DVDs in my dorm room alone, I can never ever forget watching such a film in a small video room in solitude! Have all people gone on strike! Where did all the people go! Where oh where! Cinema, for me, died on that day, November 18 of 2009, on that room! I killed myself right after that by eating a piece of meat (of course, you must know that I don't eat meat at all for about six months now!). ;-(Ciao! T.T
