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From Stephen Elliott
Rumpus columnist Nicholas Rombes’s The Blue Velvet Project analyzes in marvelous depth 152 still frames from David Lynch’s classic arthouse film.
The series, which originally appeared at Filmmaker magazine’s site, has been translated into Spanish as a book for Argentina’s Mar del Plata film festival.
...moreRumpus columnist Nicholas Rombes served as today’s guest editor for London-based online magazine Berfrois.
Rombes curated an array of excellent pieces, including Rumpus editor Isaac Fitzgerald’s “In Love in San Francisco,” Peggy Nelson’s “Short Attention Span Theater,” and two poems by John Freeman.
...moreRumpus columnist Nicholas Rombes explores the “Occupy zeitgeist” in 2011 cinema over at Filmmaker. Rombes reveals how films such as Drive, Meek’s Cutoff, Martha Marcy May Marlene, and Tree of Life, while seemingly “far removed” from the movement, “speak to Occupy anxieties of this past year.”
“…It’s possible that films like Tree of Life somehow capture — in their very structure — the decentralized fantasy of the movement.
...moreOur very own Nicholas Rombes’ story “Supernova” has been nominated for a Pushcart Prize!
Congrats Nick!
...moreRumpus columnist Nicholas Rombes‘ latest project Do Not Screen is reviewed here. The piece explores Rombes’ take on film and what is “in between” the project’s process and result.
“By leaving space for the time, Do Not Screen displays the gaps and preserves the possibility spaces.
...moreLet’s all take a minute to appreciate Nick Rombes and his attention-to-detail dedication to experimental film writing. IMDB gave his latest essay, “10/40/70 #37: Marnie” a much-deserved shout-out. If you haven’t gotten a chance to experience the Rombes screen shot treatment, this essay is a great place to start.
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On the evening of July 27 I interviewed Megan Boyle over gchat. Rather than prepare questions or focus on a specific topic, we used Wikipedia’s “random article” link to go to pages to generate content for our conversation.
This ongoing experiment in film writing freezes a film at 10, 40, and 70 minutes, and keeps the commentary as close to those frames as possible. This week, I examine Alien, directed by Ridley Scott (1979):
A few years ago, when I was finishing up the final edits on Cinema in the Digital Age, a colleague and I got into a heated debate about a section of the book where I argued that some of the images and sequences in The Ring (Gore Verbinksi, 2002) were as visually radical and avant-garde as, well, so-called avant-garde films.
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This ongoing experiment in film writing freezes a film at 10, 40, and 70 minutes, and keeps the commentary as close to those frames as possible. This week, I examine Machine Gun McCain, directed by Giuliano Montaldo (1969):
This ongoing experiment in film writing freezes a film at 10, 40, and 70 minutes, and keeps the commentary as close to those frames as possible. This week, I examine The Hitch-Hiker, directed by Ida Lupino (1953):
I have an admission to make. I’m one of those people who changes the subject whenever punk rock comes up. Don’t get me wrong. I like the music. But I refuse to memorize the name of the Sex Pistols’ first bassist, I don’t understand the difference between all the different sub-genres, and I’m always hoping no one will notice how much of a poseur I am. Over at Jacket Copy, Nicholas Rombes answers many of the questions I didn’t know I had while publicizing his new book A Cultural Dictionary of Punk.
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