"The idol of cinema has been toppled, and now its fragments are everywhere. And isn’t it terrible? Isn’t it exciting?" A piece by Nick Pinkerton for Sight & Sound opens today's round of news and views. Also: David Bordwell on James Schamus's Indignation, a profile of Winona Ryder focusing on her work in Stranger Things, J.R.R. Tolkien fan Margaret Atwood at Comic-Con, a primer on Samuel Fuller, a close reading of the films of David Gladwell, a teaser for Woody Allen's new series for Amazon—and more. » - David Hudson...
- 8/8/2016
- Keyframe
"The idol of cinema has been toppled, and now its fragments are everywhere. And isn’t it terrible? Isn’t it exciting?" A piece by Nick Pinkerton for Sight & Sound opens today's round of news and views. Also: David Bordwell on James Schamus's Indignation, a profile of Winona Ryder focusing on her work in Stranger Things, J.R.R. Tolkien fan Margaret Atwood at Comic-Con, a primer on Samuel Fuller, a close reading of the films of David Gladwell, a teaser for Woody Allen's new series for Amazon—and more. » - David Hudson...
- 8/8/2016
- Fandor: Keyframe
"First shown in 1972, John Berger's BBC television series Ways of Seeing radicalized the way an entire generation looked at art," writes Jackie Wullschlager in the Financial Times:
Before Berger, painterly detail, the development of a style, attributions and authentications, were the tools of an art historian's trade, and those practicing it most successfully in the 20th century — Bernard Berenson in the splendor of his Florentine villa, Kenneth Clark, who bought himself Saltwood Castle in Kent and was knighted for his stately TV series Civilisation — had always been unashamedly elitist in both their work and their lives. Then came Berger, born in Hackney, east London, in 1926, educated not at Harvard or Oxford but at London art schools, hanging out not with collectors and dealers but with the revolutionary Black Panther Party, to which he donated half the money from his 1972 Booker Prize-winning experimental novel G., about a rich Italian's journey to class consciousness.
Before Berger, painterly detail, the development of a style, attributions and authentications, were the tools of an art historian's trade, and those practicing it most successfully in the 20th century — Bernard Berenson in the splendor of his Florentine villa, Kenneth Clark, who bought himself Saltwood Castle in Kent and was knighted for his stately TV series Civilisation — had always been unashamedly elitist in both their work and their lives. Then came Berger, born in Hackney, east London, in 1926, educated not at Harvard or Oxford but at London art schools, hanging out not with collectors and dealers but with the revolutionary Black Panther Party, to which he donated half the money from his 1972 Booker Prize-winning experimental novel G., about a rich Italian's journey to class consciousness.
- 4/3/2012
- MUBI
A short, jet-lagged edition of The Forgotten this week. We'll be back to full-size next time.
The British film "industry" throws up interesting talents on a semi-regular basis, and throws them out almost as often: while a massive industry like Hollywood can afford waste, and indeed requires it to some extent (you can't make a blockbuster epic without throwing money around pretty loosely: a moment's misplaced frugality could ruin the desired effect of overwhelming extravagance), Britain's feckless attitude to its homegrown filmmakers is harder to understand, since they're not so easy to replace.
David Gladwell has had an odd career: the BFI, which gave him intermittent support in the Sixties, Seventies and Eighties, has just released his 1975 Requiem for a Village on Blu-ray. Memories of a Survivor, his 1981 Doris Lessing sci-fi adaptation starring Julie Christie, remains unavailable. I recall one image, a giant egg that fills a room, like an...
The British film "industry" throws up interesting talents on a semi-regular basis, and throws them out almost as often: while a massive industry like Hollywood can afford waste, and indeed requires it to some extent (you can't make a blockbuster epic without throwing money around pretty loosely: a moment's misplaced frugality could ruin the desired effect of overwhelming extravagance), Britain's feckless attitude to its homegrown filmmakers is harder to understand, since they're not so easy to replace.
David Gladwell has had an odd career: the BFI, which gave him intermittent support in the Sixties, Seventies and Eighties, has just released his 1975 Requiem for a Village on Blu-ray. Memories of a Survivor, his 1981 Doris Lessing sci-fi adaptation starring Julie Christie, remains unavailable. I recall one image, a giant egg that fills a room, like an...
- 11/3/2011
- MUBI
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