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KING KONG, Carroll and Currie: Misconstruing Monstrously How We See Things by Means of Movies
Two confusions have vitiated recent philosophical discussions about filmmaking: the presumption of Nöel Carroll that discrimination entails essentialism and the presumption of both Carroll and Gregory Currie that we cannot ...
Misusing Sights as Sounds: The Infringements of Radio Drama on the Making of CITIZEN KANE
Many arts have influenced the cinema over extended periods of time. One art – radio drama – is an exception, for we can date the onset of its influence from the coming of synchronous sound to the cinema in 1926 and the ...
Sternberg's Maxims, Dietrich's Face: Distinguishing Cinematographical from Photographical Lighting
How does cinematographical lighting differ from photographical lighting? Josef Sternberg amplified the answer when lighting the face of Marlene Dietrich within the six movies that he made with her between 1929 and 1935. ...
Santayana's Missing Pages: Learning by Recollecting How We Use Photographs
Sometime between 1900 and 1907 George Santayana addressed the Harvard Camera Club on 'Photography and the Mental Image', noting that his remarks seemed to him 'of some importance'. They were indeed, for his talk marked the ...
Growing Things: the Rural Patience of Robert Flaherty
As Robert Flaherty was making his first documentary with synchronous sound (MAN OF ARAN, released 1934), he discovered that he had never learned to cut smoothly between shots. He had become the most renowned maker of ...
The Exemplary Practices of David Griffith, Part 1: Establishing Events Historically
With the release of THE BIRTH OF A NATION in 1915, David Griffith established by common consent and emulation of his peers the prototype of international feature filmmaking – an exemplar of the possibilities of practice ...
Stroheim's Tactics of Comparison
Three-quarters of Stroheim's GREED  was cut from the film before its release at the insistence of the studio by a sequence editors who, in Stroheim's phrase, "did not know anything about my editing ideas", but the ...
Eisenstein, Part 2: '[As] in Life Itself' – Montage from 1930
Few artists have tried harder than Sergei Eisenstein to understand what they were doing, how and why, as they fashioned early on the works that made them famous, and no one among them has ever affirmed later on – with such ...
The Virtues and Limitations of Cookbooks: A Review of Manuals (Hastings House, 1976) by Daniel Arijon and Dwight V. Swain
A review of Daniel Arijon's Grammar of the Film Language and Dwight V. Swain's Film Scripting: A Practical Manual (New York, New York: Hastings House, 1976).
Review of Yon Barna's Eisenstein (Indiana University Press, 1973), 287 pages
A review of Yon Barna's Eisenstein published under the title "Barna's Eisenstein" on pages 1, 4 and 5 of the University Film Study Center Newsletter, Vol. 4, No. 5 (June, 1974) with a reply by EWC to a response to the ...