Now showing items 1-6 of 6
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 ...
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 ...
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. ...
Review of Peter Loizos's Innovation in Ethnographic Film: From Innocence to Self-consciousness, 1955-85 (Chicago, Illinois: University of Chicago Press, 1993; 224 pages)
(History of European Ideas, 1995-07)
A review of Peter Loizos's Innovation in Ethnographic Film: From Innocence to Self-consciousness, 1955-85 (Chicago, Illinois: University of Chicago Press, 1993; 224 pages) published on pages 579-581 of the journal History ...
The Exemplary Practices of David Griffith, Part 2: INTOLERANCE – 'A Drama of Comparisons'
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 ...