Close-Up is a feature that spotlights films now playing on Mubi. Jean Cocteau's The Blood of a Poet (1932) is playing July 5 - August 4, 2017 on Mubi in the United States as part of the series Cocteau's Poets.“…images born of cinema with the cosmogony of a poet.”—Henri Langlois on The Blood of a PoetThe films of Jean Cocteau have distinguished themselves among early twentieth-century cinema at large. This is due, arguably, to Cocteau’s works existing best as experiences rather than as proper films, and to their openness to interpretation. This is especially true of Cocteau’s The Blood of a Poet, made in 1930 but not shown publicly until 1932, and one which has inspired as many critical interpretations since the filmmaker’s death in 1963 as Bosch’s Garden of Earthly Delights, Stravinsky’s Rite of Spring, or Bergman’s Persona. Like those works, The Blood of a Poet...
- 7/6/2017
- MUBI
Jocelyn Moorhouse with Sue Maslin and Anne-Katrin Titze, on Grey Gardens: "Definitely. I was inspired by that." Photo: Anne-Katrin Titze
Kate Winslet and Judy Davis working together, Friedrich Dürrenmatt's The Visit and Jack Nicholson in Sean Penn's The Pledge, Sergio Leone spaghetti westerns, Clint Eastwood's Unforgiven, Albert Maysles and David Maysles' Grey Gardens - Jocelyn Moorhouse, director of A Thousand Acres (Michelle Pfeiffer, Jessica Lange, Jennifer Jason Leigh, Jason Robards, Colin Firth), and Proof (Hugo Weaving, Geneviève Picot, Russell Crowe) and The Dressmaker producer Sue Maslin, who reunited with novelist Rosalie Ham, discuss cinematic links and small-town logistics.
Molly (Judy Davis) and Tilly (Kate Winslet), the Dunnages: "You can just see these two great actresses at the height of their power."
"If the dream, according to the interpretation, represents a wish fulfilled, what is the cause of the peculiar and unfamiliar manner in which this fulfillment is expressed?...
Kate Winslet and Judy Davis working together, Friedrich Dürrenmatt's The Visit and Jack Nicholson in Sean Penn's The Pledge, Sergio Leone spaghetti westerns, Clint Eastwood's Unforgiven, Albert Maysles and David Maysles' Grey Gardens - Jocelyn Moorhouse, director of A Thousand Acres (Michelle Pfeiffer, Jessica Lange, Jennifer Jason Leigh, Jason Robards, Colin Firth), and Proof (Hugo Weaving, Geneviève Picot, Russell Crowe) and The Dressmaker producer Sue Maslin, who reunited with novelist Rosalie Ham, discuss cinematic links and small-town logistics.
Molly (Judy Davis) and Tilly (Kate Winslet), the Dunnages: "You can just see these two great actresses at the height of their power."
"If the dream, according to the interpretation, represents a wish fulfilled, what is the cause of the peculiar and unfamiliar manner in which this fulfillment is expressed?...
- 9/25/2016
- by Anne-Katrin Titze
- eyeforfilm.co.uk
David K. Randall's best-selling book Dreamland: Adventures in the Strange Science of Sleep explores the darkest recesses of our sleeping and waking brains in search of the meaning behind our dreams... and our nightmares. Published last year, the book made several year's-best nonfiction book lists, and was recently the focus of an in-depth article by Maria Popova at her weekly “interestingness digest,” Brain Pickings. In his book, Randall examines the evolution of dream research, and Popova compares his findings with those documented by Sigmund Freud in his 1900 thesis The Interpretation of Dreams, which for much of the past century represented Psychology's most comprehensive dream study. Randall also examines the work of Calvin Hall, whose data-based studies in the 1950s directly contradicted many of Freud's long-accepted theories, and broke new ground in the field of dream research. The article also examines the theories of Ernest Hartmann, who considers dreams to be...
- 11/14/2013
- by Gregory Burkart
- FEARnet
“Because there are rules.” That is Dream’s reply to Matthew, who wonders why one of the most powerful creatures in the universe has to give in to the demands of the Kindly Ones and risk his entire existence.
My immediate response, perhaps because I share a name with the raven, was to whine to myself: “But why!?!”
Rules and traditions create limitations, and that’s the point. In a story full of magic and fantasy, where, conceivably, anything could happen, it’s important that there be some basic rules to keep the possibilities from being infinite. Rules ground and govern our expectations; if the storyteller could have absolutely anything happen at any moment, suspense would be impossible and surprise would quickly stop being surprising. If my sentences here were not connected to each other by at least general (perhaps tenuous) rules of logic and transition, you might grow exasperated and stop reading,...
My immediate response, perhaps because I share a name with the raven, was to whine to myself: “But why!?!”
Rules and traditions create limitations, and that’s the point. In a story full of magic and fantasy, where, conceivably, anything could happen, it’s important that there be some basic rules to keep the possibilities from being infinite. Rules ground and govern our expectations; if the storyteller could have absolutely anything happen at any moment, suspense would be impossible and surprise would quickly stop being surprising. If my sentences here were not connected to each other by at least general (perhaps tenuous) rules of logic and transition, you might grow exasperated and stop reading,...
- 5/15/2012
- by Matthew Cheney
- Boomtron
Joyce Pensato: Batman Returns Friedrich Petzel Gallery Through February 25, 2012
In the 1970s, The Joker, Batman's greatest nemesis, had his own nine-issue comic book series, in which he faced off against a variety of both superheroes and supervillains. Because of the restrictive "comic books code," "good" ultimately had to triumph over "evil" in every storyline. This led to some creative writing strategies -- that is, how to make one of the most morally unhinged villains in superhero lore appear to do something "good" every third issue.
In the fourth and fifth issue, this problem was solved by The Joker's kidnapping of a Charles Schultz-like character and keeping him a prisoner in the HaHaHacienda. Although The Joker demanded a huge ransom for the return of Gotham's beloved cartoonist, he also derived great, sadistic pleasure from forcing the artist to write cartoons in which the Charlie Brown character was drowned, beaten up,...
In the 1970s, The Joker, Batman's greatest nemesis, had his own nine-issue comic book series, in which he faced off against a variety of both superheroes and supervillains. Because of the restrictive "comic books code," "good" ultimately had to triumph over "evil" in every storyline. This led to some creative writing strategies -- that is, how to make one of the most morally unhinged villains in superhero lore appear to do something "good" every third issue.
In the fourth and fifth issue, this problem was solved by The Joker's kidnapping of a Charles Schultz-like character and keeping him a prisoner in the HaHaHacienda. Although The Joker demanded a huge ransom for the return of Gotham's beloved cartoonist, he also derived great, sadistic pleasure from forcing the artist to write cartoons in which the Charlie Brown character was drowned, beaten up,...
- 2/5/2012
- by bradleyrubenstein
- www.culturecatch.com
Advertising Archive/Courtesy Everett Collection Image from Playbox magazine in 1955.
I spent much of my childhood playing in the trees. And that is no insignificant matter because our childhood playgrounds are the very goop from which our hearts and minds are created. Freud wrote in “The Interpretation of Dreams” that “the deeper we go into the analysis of dreams, the more often are we put on the track of childish experiences which play the part of dream-sources in the latent dream-content.
I spent much of my childhood playing in the trees. And that is no insignificant matter because our childhood playgrounds are the very goop from which our hearts and minds are created. Freud wrote in “The Interpretation of Dreams” that “the deeper we go into the analysis of dreams, the more often are we put on the track of childish experiences which play the part of dream-sources in the latent dream-content.
- 4/26/2011
- by Richard Horan
- Speakeasy/Wall Street Journal
David Cairns
The Forgotten: Remember
The Forgotten: Cold Warrior
The Forgotten: The Other Other House
The Forgotten: Girls on a Motorcycle
Adrian Curry
Movie Poster of the Week: The Alamo Roadshow Posters of Olly Moss
Movie Poster of the Week: The Movie Posters of Tom Whalen
Movie Poster of the Week: Iranian Cinema of the 60s and 70s
Movie Poster of the Week: "On the Bowery"
Doug Dibbern
For the Filming of Widescreen Snowscapes and Against the Interpretation of Dreams
Veronika Ferdman
Karlovy Vary 2010: A Bohemian Rhapsody
Matthew Flanagan
Image of the Day. Records of Material Objects in the Cinema #4
S. Hahn
Image of the day. Looming
Boyd van Hoeij
Venice 2010 Preview
Daniel Kasman
Mysterious Extracts from a Film's Subtitle Track
A Gentleman Prefers Friends
Image of the Day. Cinema Villains & Villainy #1
The McKay Way
Image of the Day. Frames We Love
Video Sundays. Cabaret Cinema
For The Icon,...
The Forgotten: Remember
The Forgotten: Cold Warrior
The Forgotten: The Other Other House
The Forgotten: Girls on a Motorcycle
Adrian Curry
Movie Poster of the Week: The Alamo Roadshow Posters of Olly Moss
Movie Poster of the Week: The Movie Posters of Tom Whalen
Movie Poster of the Week: Iranian Cinema of the 60s and 70s
Movie Poster of the Week: "On the Bowery"
Doug Dibbern
For the Filming of Widescreen Snowscapes and Against the Interpretation of Dreams
Veronika Ferdman
Karlovy Vary 2010: A Bohemian Rhapsody
Matthew Flanagan
Image of the Day. Records of Material Objects in the Cinema #4
S. Hahn
Image of the day. Looming
Boyd van Hoeij
Venice 2010 Preview
Daniel Kasman
Mysterious Extracts from a Film's Subtitle Track
A Gentleman Prefers Friends
Image of the Day. Cinema Villains & Villainy #1
The McKay Way
Image of the Day. Frames We Love
Video Sundays. Cabaret Cinema
For The Icon,...
- 9/2/2010
- MUBI
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