The cinephiliac moment is not grand or dramatic, nor carefully designed and choreographed to be memorable, but rather marginal or accidental, a moment that is remembered almost in spite of itself. A fleeting moment that triggers an affective, emotional intensity, which embodies each cinephile's obsessive relationship with cinema.
Taking his cue from Adrian Martin's new book, Mise en Scène and Film Style: From Classical Hollywood to New Media Art, and the Australian critic's other writings Tom Paulus delves deeply into mise en scène, dispositifs and micro-stylistic inquiry.
We are very proud to announce our two-day symposium dedicated to the work of Hou Hsiao-hsien, widely recognized as one of the greatest living filmmakers. During the symposium we will specifically deal with Hou’s film style and pay special attention to the difficult to define ‘micro-cinematic’ elements, which David Bordwell described as ‘just-noticeable differences’: texture, pace, rhythm. The symposium will be attended by the director himself, as well as his regular screenwriter Chu Tien-wen (one of the major Taiwanese writers), and offers lectures by experts David Bordwell, Adrian Martin, Cristina Álvarez López, Richard Suchenski, Bérénice Reynaud and James Udden. The symposium is curated by our very own Tom Paulus.
With his latest film, Lucifer, Gust Van den Berghe tackles 17th century poet and playwright Joost van den Vondel’s world-renowned tragedy. The filmmaker prefers to call his work a ‘cinematographic translation’ rather than a film adaptation. "But what exactly is being translated, and how?" Gawan Fagard asks.
Anke Brouwers describes Mary Pickford’s 1920 Pollyanna as the perfect mix of tears and laughter. But in this blog post she also defends the movie by pointing out its historical significance, from it being Pickford’s first release through United Artists to it being independently produced by a woman.
If she has convinced you to go and see this movie, good news! It has been stunningly restored by Cinematek and will be screened on April 1st in Flagey in Brussels, accompanied by a newly composed score by Lode Mertens.
Gertjan Willems decodes Jean-Marie Straub's latest, Kommunisten, soon to be screened at Courtisane festival.
Tom Paulus analyzes the clash of styles and formal structures in the most recent films of two spearheads of the ‘slow’ cinema movement, Wang Bing and Lav Diaz.
The inaugural issue of Photogénie has once again been updated, this time with an essay by Malte Hagener, titled Cinephilia in the Age of the Post-Cinematographic!