[Last weekend, en route to Madagascar, Jeremy M. Davies swung by my Chicago atelier to hear my neighbor perform Mahler’s "Quartet for Strings and Piano in A Minor" on his singing saw. Fifteen minutes in, two other friends stopped by, bearing bootleg DVDs of three new films: Midnight in Paris, The Tree of Life, and [...]
Posts Tagged ‘Annie Hall’
Art as Inheritance, part 3: Reverse Chronology
Posted in Uncategorized, tagged 2000AD, 500 Days of Summer, 5x2, Alan Moore, Annie Hall, Atom Egoyan, Bakha satang (Peppermint Candy), Betrayal (play), C. H. Sisson, Charlie Kaufman, Christopher Homm, Christopher Nolan, Coldplay, David Bordwell, David Hugh Jones, Dead Island, Doom House, Edward Lewis Wallant, ER, Eternal Sunshine of the Spotless Mind, François Ozon, Gaspar Noé, George Furth, George S. Kaufman, Goodbye to the Past, Happy End, Harold Pinter, Iain M. Banks, Irréversible, Jamie Thraves, Jane Campion, Jay DiPietro, Jean Epstein, Jean-Pierre Aumont, Jonathan Nolan, Kenneth Biller, Kurt Vonnegut, La glace à trois faces, Lee Chang-dong, Leon Prochnik's short film The Existentialist, Luis Buñuel, Marc Webb, Martin Amis, Memento, Merrily We Roll Along, Michel Gondry, Mike White, Mood House, Moss Hart, Oldrich Lipský, Peter and Vandy, Pull My Daisy, Quantum Leap, reverse chronology, Russell Banks, Sealab 2021, Seinfeld, Shrabster, Slaughterhouse-five, Spike Jonez, Star Trek: Voyager, Stephen Sondheim, Techland, The Bridge at San Luis Rey, The Human Season, The Pet Shop Boys, The Pharcyde, The Reversible Man, The Sweet Hereafter, The X-Files, Thornton Wilder, Time's Arrow, Two Friends, Use of Weapons, W. R. Burnett, Woody Allen on May 25, 2011 | 20 Comments »
I’ve been doing some research into reverse chronology (for the follow-up to my post “From ‘Doom House’ to ‘Mood House’”), and I thought I’d compile the results here. Reverse chronology is probably as old as narration itself. Once one has the idea of telling a story forward, it’s a simple enough matter to tell it [...]
Arthur Penn’s Night Moves
Posted in Uncategorized, tagged Annie Hall, Arthur Penn, Éric Rohmer, Billy Wilder, Bonnie and Clyde, Days of Heaven, Don't Look Now, Ernst Lubitsch, Francis Ford Coppola, Gene Hackman, John Boorman, Jonathan Rosenbaum, Melanie Griffith, My Night at Maud's, Nicolas Roeg, Night Moves, Point Blank, Robert Altman, Roger Ebert, Ross Macdonald, The Conversation, The Long Goodbye, The New Hollywood, Wes Anderson, William Wyler on September 30, 2010 | 10 Comments »
Well, Arthur Penn died. He was of course a great director. And of course everyone will be talking about how great Bonnie and Clyde (1967) is—and it is great. It’s one of the most important of American films; along with John Boorman’s Point Blank (1967), it essentially kick-started 1970s cinema, and that decade’s auteur-driven New [...]
-
Authors
-
John Madera
-
John Dermot Woods
-
Ryan W. Bradley
-
Michael Leong
-
Greg Gerke
-
Stacy Muszynski
-
A D Jameson
-
Tim Jones-Yelvington
-
Rachel Swirsky
-
Edward Mullany
-
Aya Karpinska
-
Paul Kincaid
-
davis schneiderman
-
Amber Sparks
-
Tim Horvath
-
John Domini
-
Elaine Castillo
-
Curtis White
-
Paula Bomer
-
James Tadd Adcox
-
Nick Francis Potter
-
Brian Kubarycz
-
Gabriel Blackwell
-
Janey Smith
-
Matty Byloos
-
J/J Hastain
-
Greg Hunter
-
Jeff Bursey
-
Paul Griffin
-
Chris Lites
-
-
Top Posts
-
Recent Comments
- Theory of Prose & better writing (ctd): The New Sincerity, Tao Lin, & “differential perceptions” | HTMLGIANT on Tao Lin, Richard Yates
- Fulcanelli on Critical
- John Domini on THE SOT-WEED FACTOR, A Duet: Part II; in which we discuss foundlings and feminists, the exhaustion of forms, Twin Peaks, and how literature can’t compensate for a lack of toilet paper.
- Purity of Essence on THE SOT-WEED FACTOR, A Duet: Part II; in which we discuss foundlings and feminists, the exhaustion of forms, Twin Peaks, and how literature can’t compensate for a lack of toilet paper.
