Here's a list of things I want to talk about, in no particular order. I invite comments, though, if someone wishes to prioritize...
-ontology of film: this is more fun than it sounds, and I think Mike will back me up here
-comedy, with a subset of situation comedy or "Why I hate Seinfeld"
-Italian movies
- intentionality: I must talk about this (pun intended) because, whether you're involved with art criticism or film criticism, it's an incredible time saver
-the one must-see movie by Orson Welles; no, not Citizen Kane, it's Touch of Evil
-mannerist cinema: this will be more relevant after the new Quentin Tarrentino movie comes out
And what's not on the list: semiotics of film. I'm not sure if semiotics is worth it anymore, but I'm thinking about it, and will let you know what I come up with.
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Definitely will try to see Touch of Evil soon... Maybe Clockwork Orange would fall into Mannerist Cinema? I'm looking forward to Tarrentino's new one. Eager to discuss all subjects...
ReplyDeleteI was thinking after my comments I would list the films I've watched recently. You might have suggestions...
It's funny that 'Italian Movies' are on the list...
I just finished watching Umberto D. While Neorealism and Italy's post-war depression are easy to empathize with, I much preferred The Bicycle Thief.
I thought about the idea of tension in each scene. If the character is experiencing a personal conflict, would this 'count' as tension? Does a film benefit from a more pronounced source of tension? I think that each character of a well written plot would have their own personal conflicts throughout the film that may or may not be addressed. Does this differ from what Mardik Martin spoke of? (Mean Streets: Less pronounced tension - Keitel's constant sense of responsibility for Johnny Boy vs. More pronounced - (any example of) Johnny Boy picking fights/owing money.)