It is time for essential readings again and let us give you the highlights on cinema for the last week of August.
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AV Club’s B.G. Henne writes on the cinematic technique of breaking the fourth wall in a film:
Fourth-wall breaking changes in film, as the dramatic experience is no longer live, but becomes hermetically sealed. The introduction of sound in movies would again change the effect, by greatly amplifying how the effect could be used. Breaking the fourth wall is often dismissed as a cheap gag, and it can be a distraction when poorly wielded. When used well, it becomes a very specific, effective tool for drawing the viewer up into a whimsical space between the performance and the audience.
No Film School’s V Renée takes us to the 10 film movements that changed everything:
Like messages in bottles, film movements come in waves. And also like those floating, nautical correspondences, the significance of their messages aren’t often received until much, much later. Studying the work of auteurs like Godard, Rossellini, and Bergman is great, but learning why their work was significant historically will broaden your scope on cinema as a whole — how it ebbs and flows, grows, changes, and cycles. For instance, you could watch Pierrot le fou and think, “Man, that Jean-Luc Godard makes some eccentric and quirky films! He’s just like Wes Anderson,” but if you take a second to inform yourself on pre and post-WWII France, Jean Renoir, Cahiers du Cinéma, the whole Truffaut vs. Godard thing, even La Grande Vadrouille — the film that helped usher commercial films back into the French mainstream — then you’ll really understand (and really appreciate) the rebellious, transcendent work those Nouvelle Vague filmmakers were doing.
The Film Experience’s Nathaniel Rogers looks at Grace Kelly’s biggest cinematic year of her career:
Grace Kelly’s surprise Oscar win on 30 March, 1955, was the belated cherry on top of an incredible year by any actress’ standards, and certainly the busiest and most successful of Kelly’s ultimately brief Hollywood career. The basic narrative is now one of legend: the young, popular new star caught the attentions of the Academy over the established older performer; in this case, despite only being seven years older, Judy Garland. Hollywood gossip columnist Hedda Hopper said it was a matter of just 6 votes. If you believe her, than it’s probably the closest Best Actress race ever, outside of the 1968 Hepburn-Streisand tie. History has decided that Grace Kelly didn’t deserve it. History may be right.
The Guardian’s Anne Donahue writes on how witches went from evil outcasts to feminist heroes:
This self-awareness is arguably a reflection of this generation’s own willingness to gaze inward. Witches in pop culture now reflect the feelings of isolation, confusion, or the need to band together for a greater good – especially if you’re a woman. It’s emblematic, entirely, of our society’s struggle with the polarizing faces of women – the all bad versus all good. They’re all just a larger story of absolute power corrupting absolutely, so be aware, be afraid, and be good. It’s the quintessential cautionary tale, which makes me think that larger society knows not to make a witch mad.
Indiewire’s Elliot Grove lists 19 great ways to brainstorm short film ideas:
Everyone is screaming for content today: visual content. The other fact is that people’s attention spans are dropping meaning that short films get the kinds of eyeballs that feature filmmakers dream about. An understanding of short film idea generation is almost a carte blanche to becoming known as a filmmaker of short films with the kind of pedigree associated with Oscar-nominated feature filmmakers. What is more, your short films can be seen by a huge number of people.
A few more to call it a week:
- Video essay examines the point of view shots of the Cohen Bros.
- 6 ways simple props can make your film more interesting
- First time Turkish helmer releases deeply disturbing trailer for TIFF 2015 entry ‘Baskin’
- How Quentin Tarantino resurrected Ultra Panavision 70 for ‘The Hateful Eight’
- Palestinian cinema provides contextual, honest imagery to whole world
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