Alfred Hitchcock, Audrey Hepburn, Asghar Farhadi and more at this week’s essential reads!
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AV Club’s Christopher Curley explores science fiction’s glorious hallways:
Science fiction films, especially lower-budget ones, only have a few tools at their disposal to sell the otherworldliness of their future fictions. One is the matte painting, which establishes the exotic setting. Another is costuming, letting the viewer know these are not today’s people and customs. And the rest relies on set dressing, the most prominent of which is the sci-fi corridor. Great for establishing the rhythms of the world–or running through in a moment of high-stakes tension–the corridor is one of the simplest pieces of visual shorthand production designers can use in these films.
No Film School’s V Renée takes us to the 24 Sound Basics on film:
Getting decent sound is supremely important. Most audiences will put up with subpar video quality, but give them some crappy audio and you’re looking at a hoard of angry and now uninterested moviegoers. You want to avoid this at all costs. One of the most integral tenets of recording sound is “garbage in, garbage out”. You may not have the money to afford a professional (or decent) microphone, but you can still limit the amount of “garbage” that your budget mic picks up — for free! You can do this by making sure people are quiet, recording in a quiet location, getting mics close to your subject, and unplugging/turning off all electronics, especially things like refrigerators and A/C units that create a humming noise that you may not notice right off the bat.
The Film Experience’s Nathaniel Rogers looks at ‘Notorious’ as Hitchcock’s only feminist film:
‘Notorious’ is Hitchcock’s only feminist film, and Alicia Huberman, as played by Ingrid Bergman, is the only Hitchcock heroine rewarded, rather than destroyed, for her sexual agency. ‘Notorious’ pairs a tramp, which is what Alicia calls herself, with a misogynist, as Cary Grant’s Devlin says he’s always been afraid of women. Alicia, then, is not fighting Nazis, she’s fighting the patriarchy and its misogynist attraction/repulsion for female sexuality.
NY Times’ Steven Johnson writes about the clash of digital economy and art in various forms including films:
The intersection between commerce, technology and culture has long been a place of anxiety and foreboding. Marxist critics in the 1940s denounced the assembly-line approach to filmmaking that Hollywood had pioneered; in the ’60s, we feared the rise of television’s ‘‘vast wasteland’’; the ’80s demonized the record executives who were making money off violent rap lyrics and ‘‘Darling Nikki’’; in the ’90s, critics accused bookstore chains and Walmart of undermining the subtle curations of independent bookshops and record stores.
The Guardian’s Nigel Smith analyzes why did Indie films have such a terrible summer:
In its analysis of why the youth-skewing movies failed to connect with moviegoers, The Hollywood Reporter suggests that core audience for both films – teens – were too “occupied by blockbuster commercial fare this summer (Jurassic World, for example)”. Indeed, the only indies to have made healthy profits this summer were targeted to older audiences, and oddly enough, only one of them premiered at Sundance.
A few more to call it a week:
- Revisiting ‘Teen Wolf’ on its 30th anniversary
- 83 Shots that proves there is more than one way to shoot a road trip movie
- 1954 Look back: Audrey Hepburn’s style in ‘Sabrina’
- ‘Assassination’ became the 10th most viewed South Korean film
- 10 Minute enlightening video essay of ‘A Separation’ director Asghar Farhadi
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