tag:blogger.com,1999:blog-37661022011-04-21T21:32:19.941-07:00*cnn film reviewA space for analysis of cinema brought to you by *commit no nuisance*cnnhttp://www.blogger.com/profile/12832705964341450772noreply@blogger.comBlogger71100tag:blogger.com,1999:blog-3766102.post-1097768575993318482004-10-14T08:33:00.000-07:002004-10-14T09:00:54.520-07:00Last night at the cinematheque in Nazareth, the documentary film al-Sabar (The Cactus) was shown to a packed audience, including the filmmaker and the main subject of the film.
The film charted two main storylines, interweaving them until they were indistinguishable. The first was a woman's quest to mount a photographic exhibition in a refugee camp in Lebanon of Palestinian villages destroyed in *cnnhttp://www.blogger.com/profile/12832705964341450772noreply@blogger.comtag:blogger.com,1999:blog-3766102.post-1073696107875897652004-01-09T14:36:00.000-08:002004-01-09T16:56:52.296-08:00Dogville
Danish director Lars Von Trier's much awaited new project Dogville arrived in front of me last week, just four days after its Australia-wide release. As reliable sources have told me, the movie has suffered in the initial box office receipts for failing to be 'sneaked' to the public before opening. The process of 'sneaking' a film entails telling everyone that it will open on Boxing Day *cnnhttp://www.blogger.com/profile/12832705964341450772noreply@blogger.comtag:blogger.com,1999:blog-3766102.post-1067572066096214532003-10-30T19:41:00.000-08:002003-10-30T19:47:55.623-08:00Iranian Balloons: Panahi and the West
The ‘discovery’ of Iranian cinema in Western festival circles over the last ten or so years has made almost household names of directors like Abbas Kiarostami and Mohsen Makhmalbaf, while many (nay, most) Iranian filmmakers remain unknown and impoverished, refused classification by strict censorship regulations that have been in place, more or less *cnnhttp://www.blogger.com/profile/12832705964341450772noreply@blogger.comtag:blogger.com,1999:blog-3766102.post-1067016535921403452003-10-24T10:15:00.000-07:002003-10-24T10:38:47.576-07:00Get lost, Bitch; Australian anxieties and cinematic representations
Along with the Ocker, the Battler, the Pioneer and the Anzac, the image of the lost child, and in particular that of the lost girl/s, has been a constant reference point for the stories told in the Australian national cinema. The distinctive imagery of the Australian bush is often juxtaposed with the innocence and naïveté of *cnnhttp://www.blogger.com/profile/12832705964341450772noreply@blogger.comtag:blogger.com,1999:blog-3766102.post-954001382003-06-06T23:30:00.000-07:002003-10-24T10:48:49.483-07:00Romancing the Feminists: Or how Romance might be understood as postfeminist counter-cinema
*
My definition of counter-cinema I take from Annette Kuhn; “Cinema which operates against, questions, and subverts the dominant cinema…” (Kuhn, p157)
My definition of postfeminist I take from the Oxford Concise Australian Dictionary; “of, or relating to the ideas, attitudes, etc., which ignore or reject *cnnhttp://www.blogger.com/profile/12832705964341450772noreply@blogger.comtag:blogger.com,1999:blog-3766102.post-841526602002-11-06T19:54:00.000-08:002002-11-06T19:56:59.000-08:00Image, Desire and Reality in Martin Scorsese’s Raging Bull
The Scorsese hero, who would be better termed his “lone, mad, usually masculine” anti-hero, is a man content with delusion. He is not a dreamer per se, but an illusionist of the highest order, living Scorsese’s own impossible dream of personal identity, thrust into and becoming his own fantasy image.
Scorsese’s films – and *cnnhttp://www.blogger.com/profile/12832705964341450772noreply@blogger.comtag:blogger.com,1999:blog-3766102.post-813078022002-09-08T00:44:00.000-07:002002-09-08T02:27:17.000-07:00SULLIVAN’S TRAVELS: A CRITIQUE OF THE NARRATIVE CONSTRUCTION AND STYLE OF OPENING & CLOSING SCENES
Sullivan’s Travels (1941) USA 91 mins.
Source: CAC/NLA Prod Co: Paramount Prod: Paul Jones
Dir, Scr: Preston Sturges Ph: John F. Seitz
Ed: Stuart Gilmore Art Dir: Hans Dreier, Earl Hedrick
Cost: Edith Head Mus: Leo Shuken, Charles Bradshaw
Cast: Joel McCrae, Veronica Lake, Robert Warwick, William *cnnhttp://www.blogger.com/profile/12832705964341450772noreply@blogger.com