Well, after many futile attempts to resurrect my past blog "Godard 21's Cinephile Journal"(bad name, I know), I decided to create a new one in which I will discuss actual films and try to put into practice all of the film theory that I have been reading. The seemingly anonymous individual pictured above is myself. It has no other purpose, but to serve as practice for future images that will be on this blog.This blog will differ from my former blog in the following ways:
1. No more links to new film trailers. The simple reason for this is that I just don't care for them and you can easily find them elsewhere.
2. No covering of film festivals. Too time consuming and I would rather not recycle information on festivals received from other sources.
3. No personal opinions about awards or film news.
4. Entirely dedicated to film analysis, interpretation, commentary, and discussion of film theory.
Well, that's about it. I hope to change the blog's name eventually because I am presently unsatisfied with it. For my first blog, I am going to comment on the variety of ways the Russian director, Andrei Tarkovsky, distinguishes his films, Andrei Rublyev and The Mirror, from the continuity style of Hollywood film, as partially described by David Bordwell, Janet Staiger, and Kristin Thompson in The Classical Hollywood Cinema: Film Style & Mode of Production to 1960 (1985). While it has usually been the tradition of other film theorists to contrast continuity editing and seemingly "invisible" style of Hollywood cinema with the montage editing of the historical-materialist films of Sergei Eistenstein (Battleship Potemkin, October), I hope to illustrate how the future Russian director also subverts the Hollywood style in a new manner than the montage of Eisenstein or V.E. Pudovkin.
That is all for now.
1. No more links to new film trailers. The simple reason for this is that I just don't care for them and you can easily find them elsewhere.
2. No covering of film festivals. Too time consuming and I would rather not recycle information on festivals received from other sources.
3. No personal opinions about awards or film news.
4. Entirely dedicated to film analysis, interpretation, commentary, and discussion of film theory.
Well, that's about it. I hope to change the blog's name eventually because I am presently unsatisfied with it. For my first blog, I am going to comment on the variety of ways the Russian director, Andrei Tarkovsky, distinguishes his films, Andrei Rublyev and The Mirror, from the continuity style of Hollywood film, as partially described by David Bordwell, Janet Staiger, and Kristin Thompson in The Classical Hollywood Cinema: Film Style & Mode of Production to 1960 (1985). While it has usually been the tradition of other film theorists to contrast continuity editing and seemingly "invisible" style of Hollywood cinema with the montage editing of the historical-materialist films of Sergei Eistenstein (Battleship Potemkin, October), I hope to illustrate how the future Russian director also subverts the Hollywood style in a new manner than the montage of Eisenstein or V.E. Pudovkin.
That is all for now.
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