Posts Tagged: Film
Will women make as many cinematic strides in 2016 as they did in in 2015? Clarissa Loughrey struggles to remain hopeful as she anticipates the female presence in film for the coming year:
2016 may not look so hopeful to the eyes of cinematic women but, then again, some of the greatest triumphs of 2015 came as a complete surprise.
NPR traces the history of Stephen King’s Misery from the novel, to the film, and, most recently, to the stage, and argues that this journey may have caused the story t0 lose a few key components:
It is almost literally drained of blood and, more important, it is drained of urgency.
The representation of writing students in film is an interesting one, as Leah Schnelbach explores for Electric Literature. There exists a trend in which writing students are shown to be young and innocent, learning from inadequate teachers. Schnelbach attempts to explain why this trend exists, and wonders if it can be changed:
…the public image of the writer is one of endless debauchery, drinking problems, deadline problems, and fuming ex-wives.
The early skepticism for The End of the Tour may have been misguided. David Poland caught up with James Ponsoldt (the film’s director) and Donald Marguiles (its Pulitzer-winning screenwriter) to touch on Wallaces’s legacy, the Lipsky interview, and the process behind what’s since been deemed a “glorious casting.”...more
The silver screen used to be a lot more colorful. Before Technicolor was an option, hand-painted black-and-white film produced vibrant, surreal images the likes of which the world had never seen. Joshua Yumibe looks into the invention born of necessity....more
The Amy Winehouse documentary is in theaters starting today, following a run of great reviews after its premier at Cannes in May. Director Asif Kapadia had over one hundred hours of footage to work with, ranging from a fourteen-year-old Winehouse singing a friend “Happy Birthday” to a video of the singer’s funeral at age twenty-seven....more
Scary movie of the hour It Follows is peppered with intertextual references to Dostoyevsky’s The Idiot. Ben Apatoff looks for the connection (if there is one):
If anything, The Idiot enhances It Follows more than it represents it, augmenting the film’s foreboding atmosphere with quotes from a writer who could create anxiety and suspense as artfully as any of the Russian greats.
People have been writing about civil rights for years, but it’s taken Hollywood until now to warm up to the subject (of course, not enough). Bill Morris traces the history of the movement’s cinematic representations leading up to Ava DuVernay’s recent triumph:
Movies about the civil rights movement — the successful ones– have tended to follow one of two strategies.
Over at Grantland, Mark Harris looks back on the stories Hollywood told this year, why marquee films are gridlocking the industry, and what that sort of thing can do to your head:
“I did not begin 2014 by imagining that the most resonant movie moment of the 12 months to come would be a quiet, resigned stare-down in a bathroom.
Book-to-movie adaptations are nothing new, but does the transition work the other way around? Over at Electric Literature, Tobias Carroll examines the capacity of prose to put film on paper:
This shouldn’t work, but it does. Perhaps it’s that the deconstructive elements of the novel echo another part of the world of cinema: between film school and film criticism, discussion is as much a part of cinema as images projected onto a screen.