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Posts tagged ‘Film’

Twitter helps predict the future

This is from The Technicum:

The chatter in Twitter can accurately predict the box-office revenues of upcoming movies weeks before they are released. In fact, Tweets can predict the performance of films better than market-based predictions, such as Hollywood Stock Exchange, which have been the best predictors to date.

It is of course not only for movie predictions, but

This method can be extended to a large panoply of topics, ranging from the future rating of products to agenda setting and election outcomes. At a deeper level, this work shows how social media expresses a collective wisdom which, when properly tapped, can yield an extremely powerful and accurate indicator of future outcomes.

The research can be read in this pdf: Predicting the Future With Social Media.

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Film History Course Resources

I stumbled upon these resources from AAU on Film History (in Danish). It is a course by Gunhild Agger and Jørgen Riber Christensen, where they focus on the history of horror movies (in Danish) and New Wave (notes from the Bordwell reading) (in Danish).

The course uses Marc Cousins History of Film, a fairly new – and very global in its view – good thorough book.

Also take a look on wikipedia’s Film History.

Reading: Creton and Jackel on the French Cinema Model and Europe

“Jean-Michel Frodon argues that the survival of the French model ‘depends on it’s ability to contaminate its various partners in Europe’ (Frodon 1995:815), but in many European countries cinema does not enjoy the same status nor provoke the same passion as it does in France. Consequently, the risk is high that a European consensus may produce a regulatory framework based on the lowest common denominator. The challenge today is, on the one hand, to avert a deregulatory trend that would merely subjugate creativity and diversity to financial interests and, on the other, to avoid a return to the excessive bureaucracy and protectionism of the past.” (The authors claim earlier in the article that French cinema is in fact not protectionistic anymore.)

The French Cinema Book, page 220, edited by Temple & Witt, 2004

Film Noir, Neo Noir or Noir Parodi

“Noir is a retroactive label, applied first by vigilant French cineasters who discovered an unexpectedly dark tone in a group of American crime films released in France at the end of World War II” (Hirsch, Detours and lost higways, 1999, p.2)

Wether or not film noir is a genre or just a movement is debatable. Is it only a product of time; “World War II [with an Atom bomb for the world!], German Expressionism, existentialism and Freud as they were filtered into pop culture” as writer Paul Schrader (Taxi Driver, Raging Bull) would argue. Or has it distinct universal features as the femme fatale, the private eye burdened with his own code of honor and the mix of violence, sex, greed and loss of innocence.

Surely these features are more consolidated and full-fledged in “after noir” movies as Orson Welles’ Touch of Evil or Polanski’s Chinatown. Quoting Marx, history is not an entity in itself, but merely a product of man, such as other idealistic phenomenas: God, King and State. Film Noir therefore were probably only fully grown as genre when the synthethical “after noir” movies brought together the film interpretations of antitheses and theses in the current movement discovered by the French cineastes in 1955 (Panorama du film noir americain, Raymond Borde and Etienne Chaumeton)

According to Foster Hirsch the era of Film Noir can be said to take it’s beginning in 1941, where the “chiaroscuro, canted angles, ceiling shots, and deep focus” shots create neurotic and unstable mise-en-scène in films as The Maltese Falcon and Citizen Kane (though one should not forget Fritz Lang, German Expressionism and poetic realism in prewar France (Carne’s Jour se lève, 1939 and Renoir’s Chienne 1931 and Bete humaine, 1938))

What is neo noir then? Godard’s A bout de souffle, 1959, alters the image, L.A. Confidential, 1997, merely makes a pastiche, and Lynch’s Twin Peaks, 1990, just a parodi? Which qualifies for the genre?

And on regard of Twin Peaks: Joy, joy, to read Søren Staal Balslevs review/commentary, Noir parodi (in Danish), on the DVD-release of Twin Peaks.


The list of films

The Third Man, 1949, (Carol Reed’s, might be the one and only!)
The Killing, 1956 (Kubrick’s, screenplay by Jim Thompson)
Vertigo, 1958
Odds Against Tomorrow, 1959
Psycho, 1960
Cape Fear, 1962 (and a Scorsese remake from 1972)
The Manchurian Candidate, 1962
Harper, 1966
Point Black, 1967
Le Boucher, 1969 (Chabrol’s meditation on a serial killer. of new wave instructors Chabrol, the French Hitchcock, pursued a much more conventional course than either Godard or Truffaut)
Shaft, 1971
Dirty Harry, 1971
The Long Goodbye, 1973 (Altman’s, with the iconic figure: Philip Marlowe)
Hammeth, 1983 (Wenders’)
The Underneath, 1995 (remake of Criss Cross, 1949)

Film Focus

Three films I want to see again:

Cité des enfants perdus, La

(French surrealistic eerieness, Yes!)

La Cena
(Italian (and) intellectual living. Once again: Yes!)

In the name of the Father
(Never did realize it was Daniel Day-Lewis…)

Three recent American films I really enjoyed:

There will be blood
(Oh joy to once again be amazed by Daniel Day-Lewis. Paul Thomas Anderson really pulls the best from Day-Lewis’ abilities! The movies starts off with no dialogue (much like Leone’s Once Apon A Time in the West) only Daniel getting himself some hardcore experience (as in “Touching the Void”!) in the arid desert, magnificent!)

No country for old men
(Coen-brothers showing mastery of poetical and violent suspense)

Charlie Wilson’s War
(Love Philip Seymour Hoffman’s role in this picture. Loved him in Anderson’s Magnolia and in Coen’s The Big Lebowski. This fairly story and plot-conventional movie depicts the way of American politics and affairs in the Afghan War, all – by the way – controlled by Texas. Texas is big.) (Screenplay by Aaron Sorkin, creator and writer of The West Wing)

Three films I haven’t seen, but is going on my list:

Five Easy Pieces (Jack in denial, the movie might go well after seeing There will be blood)
Mariachi, El (7000 dollars desperado movie by Rodriquez, not seen yet!)
My Left Foot (in search of more Daniel Day-Lewis kicks)

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