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Posts Tagged ‘Arthur Penn’

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 [...]

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Brevity, part 7: Slow Motion

Posted in Uncategorized, tagged Andrew & Lana Wachowski, Andy Warhol, Arthur Penn, Blake Edwards, Brian De Palma, Bullet-Time, David Lynch, Douglas Gordon, Dziga Vertov, Eadweard Muybridge, Erik Satie, Godfrey Reggio, Interpol, Jean Cocteau, Jean Luc Godard, Jean Vigo, John Woo, Joseph Cornell, Kar Wai Wong, Kenneth Anger, Martin Scorsese, Maya Deren, overcranking, Pixies, René Clair, Rouben Mamoulian, Sam Peckinpah, slow motion, Stanley Kubrick, Tim Macmillan, Time-Slice, undercranking, Velouria, Wes Anderson, Zack Snyder, zoopraxiscope on March 9, 2010 | 10 Comments »

Note: This post is partly a reply to a question someone asked me, back-channel, about slow motion, but also partly due to my general interest in how time works in narrative, and in brevity and stasis (and “the ongoing”). Slow motion is created by presenting film footage at a slower rate than it was shot [...]

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Brevity, Part 3: Long Takes Continued (well, they’re long)

Posted in Uncategorized, tagged Abbas Kiarostami, Alfred Hitchcock, André Bazin, Andrei Tarkovsky, Arthur Penn, At Land, Avatar, Barbara Loden, Blow Up My Town, Blow-Out, Blowup, Bonnie and Clyde, Brian DePalma, Carbondale, Carol Reed, Chantal Akerman, Conjoined Dislocations, Delphine Seyrig, Elaine May, Film About a Woman Who..., Goodfellas, India Song, James Cameron, Je Tu Il Elle, Jeanne Dielman, John Cage, Kathryn Bigelow, Lev Kuleshov, Marguerite Duras, Martin Scorsese, Marva Nabili, Maya Deren, Median Shot Length, Meshes of the Afternoon, Michelangelo Antonioni, Mikey and Nickey, Nicolas Cage, Northeastern Pennsylvania, Orson Welles, Raging Bull, Robert Altman, Rope, Sally Potter, Samira Makhmalbaf, Scranton, Snake Eyes, Stalker, Strange Days, Taxi Driver, The Apple, The Hurt Locker, The Player, The Sealed Soil, The Tango Lesson, The Third Man, Touch of Evil, VALIE EXPORT, Wanda, Warren Beatty, Yvonne Rainer on January 10, 2010 | 8 Comments »

While writing my previous post, I grew aware that I wasn’t mentioning any women filmmakers. So I’d like to add something addressing that (because of course one can find numerous examples). And along the way, I’ll also try to say more in general about the power—and limitations—of the long take.

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BIG OTHER

Posts Tagged ‘Arthur Penn’

Arthur Penn’s Night Moves

Brevity, part 7: Slow Motion

Brevity, Part 3: Long Takes Continued (well, they’re long)

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