This is useful for spectatorship and for the comprehensive links to other film blogs, etc. I've also placed this blog in "links for researching fims" in the bottom right hand corner of this blog. That group of links is getting a little cumbersome so I'll break it into some subsections soon.
http://cinebeats.blogsome.com/2008/08/28/end-of-the-summer-reading/
Sunday, 31 August 2008
Saturday, 16 August 2008
David Bordwell on studying cinema
Much of what Professor David Bordwell argues here is relevant for understanding the reasons for undertaking a course in film studies.
http://www.davidbordwell.net/essays/studying.php
There are several essays and articles on Bordwell's site and they are well worth reading to develop one's ability to analyse films. Here's one on film technique: The Hook: Scene Transitions in Classical Cinema. Bordwell's use of film images to support his points should also be seen as the model to follow when writing essays.
http://www.davidbordwell.net/essays/hook.php
http://www.davidbordwell.net/essays/studying.php
There are several essays and articles on Bordwell's site and they are well worth reading to develop one's ability to analyse films. Here's one on film technique: The Hook: Scene Transitions in Classical Cinema. Bordwell's use of film images to support his points should also be seen as the model to follow when writing essays.
http://www.davidbordwell.net/essays/hook.php
Labels:
Academics,
Articles,
David Bordwell,
Essays,
Film Critics
Wednesday, 16 July 2008
Hollywood's hero deficit
An academic article on Hollywood's current inibility to present Americans as heroes. Fascinating stuff.
http://www.american.com/archive/2008/july-august-magazine-contents/hollywood2019s-hero-deficit
http://www.american.com/archive/2008/july-august-magazine-contents/hollywood2019s-hero-deficit
Tuesday, 15 July 2008
Hollywood's strong women - the representation of femininity in the early 1940s

Stars and women and film in the early to mid 1940s.
These were among the greatest roles by Hollywood's most powerful actresses of the 1940s:
"Now, Voyager"- Bette Davis in 1942 (See the image above)
"Double Indemnity" - Barbara Stanwyck 1944
"Mildred Pierce" - Joan Crawford 1945
These great actresses characterised a male view of women in the early to mid 1940s.
What was Hollywood openly and covertly stating in its representation of these female roles in this era?
In a comparative manner how are men represented in these films?
How did the context of the war affect the representation of femininity and masculinity in these films?
These are just a few starter questions for what could be a study on the representation of strong women played by actresses at their peak across these great films. Depending on how it is focussed this study could either fit the genre, stars/performers category or the social, historical and political category of FS4.
This is it for FS4 and for other areas of film this summer as I'm away for a few weeks in Turkey and Scotland. There may be the odd post or two over the next few weeks - if I get bored!
Labels:
Female Stars of the 1940s,
Feminiity,
FS4,
Masculinity
Film Reference - an encyclopedia of stars, directors, national cinema, etc.
This is a very useful starting point for studies on a director, star, national cinema, fandom, etc.
http://www.filmreference.com/index.html
http://www.filmreference.com/index.html
Labels:
Directors,
Fandom,
Film Encyclopedia,
Hollywood Stars
Sunday, 13 July 2008
Cahiers du Cinéma and the French New Wave (essay)

Dave Kehr's commemorative essay from 2001 on the 50th anniversary of the magazine, Cahiers du Cinéma, explains how the French New Wave Cinema ( La Nouvelle Vague ) emerged from the young men who wrote for Cahiers du Cinéma: François Truffaut, Jacques Rivette, Claude Chabrol, and Jean-Luc Godard, etc. These "young turks" attempted to sift what they considered to be the wheat from the chaff as they re-appraised Hollywood and its directors such as Howard Hawks and Alfred Hitchcock whom they considered to be "auteurs". Kehr's essay reveals how Truffaut et. al. preferred some directors others because the directors appeared a-political. For instance, Wyler, Huston and Wilder fell out of favour because they were seen as "left-leaning". These last mentioned directors were championed by the French leftist cinema magazine, "Positif". Although "Cahiers . . ." itself later turned left in the late 60s and early 70s when its articles were written by theorists who focussed on post modernist philosophy and ideology. Kehr's discussion of "the young turks" ideas about mise- en-scene is worth reading just on its own. All in all, this is a must-read for students who are studying French New Wave Cinema and who need a contextual understanding of how this movement began and how it went on to shape modern film criticism.
http://filmlinc.com/fcm/9-10-2001/cahiers.htm
Saturday, 12 July 2008
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