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.
Il Cinema Ritrovato 2015 has come to an end, but we still have some reports coming up! After musing on the glory of The Thin Red Line in Technicolor, Tom Paulus reports on this year's American Auteur. Following Walsh, Dwan and Wellman, this year's Ritrovato honored Leo McCarey...
More from Il Cinema Ritrovato: Anke Brouwers on the virtues of the silent melodramas produced by the Bluebird company (a Universal subsidiary), hugely popular at the end of the 1910s.
In our first dispatch from Il Cinema Ritrovato, Tom Paulus talks about the festival's focus on color, ranging from unique Technicolor prints to early practices and color traditions in Japan.
We are pleased to announce our third open call for papers - find out more through Tom Paulus' introduction to the theme of our third issue in this blog post.
The deadline for proposals is October 1, 2015. Selected contributions are due December 1, 2015. Submissions (as Microsoft Word e-mail attachments) and questions should be directed to firstname.lastname@example.org. Consult our style guide here. We look forward to receiving your contributions!
Young Critic Vanity Celis discussed Flemishness, colonialism, flurry aesthetics and crappy Polaroid quality with Belgian filmmaker Pieter Van Hees.
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.