Using Viktor Shklovsky

My hero.

[This post began as a response to some comments made by Douglas Storm on Amber’s most recent post.]

The name “Viktor Shklovsky” comes up a lot at this site (I’m guilty of mentioning it in perhaps half of my posts), and one might wonder why the man and his work matters. Below, I’ll try and lay out what Viktor Shklovsky has done for me, and what he might be able to do for you, too! Because Shklovsky might be the single most interesting and, above all else, useful critic I’ve ever encountered…

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Why Do You Need So Many Cinemas?

“Evolution of Dance” by Judson Laipply (2006) (still).

In my last post on this topic, I argued that cinema can be redefined as “the cinematic arts,” which would include not only movies and short films, but also music videos, commercials, TV programs, experimental film and video, installation art, video games, Flash animations, animated gifs, and even “nonelectrical” forms of moving images, such as flipbooks and camera obscuras. This redefinition raises a few questions:

  1. Why should we do this? What would this expansive reconsideration get us?
  2. Can it be done? Can the same critical apparatus that we use to describe and analyze feature films be successfully applied to, say, animated gifs? Or camera obscuras?
  3. What would the be the common currency of cinema?

After the jump, I’ll try answering each of these questions.

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Seventeen Ways of Criticizing Inception (AKA, All Knowledge Isn’t Equal)

Let’s consider the truth behind advertising.

[This can be considered a response to this post, and its comments thread.]

1.

You’ve just become the fiction editor of a small journal. You open your email and see that you’ve received 1,000 unsolicited submissions. The first ten were sent by:

  • Carlos Shirley
  • Jeanne Goss
  • Jack Livingston
  • Christine Stribling
  • Melissa Mathieu
  • Benjamin Tatro
  • Tao Lin
  • Ryan Monk
  • Naomi Foltz
  • Matthew Orosco

Which one do you open and read first?

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The 1970s vs. the 2000s (in Hollywood film, at least)

From "Love Story" (1970)...

...to "Avatar" (2009).

Paul’s post “Science in the Ghetto” got me thinking about the infantilizing of Hollywood movies. I wanted to see if reality matches my impression (which is that Hollywood films these days are less oriented toward adult audiences), so I gathered the lists of the top-ten grossing English-language films for each year of the 1970s and the 2000s. Let’s compare.

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More on Inception: Shot Economy and 1 + 1 = 1

Some good questions came up in the comments section of my lengthy Inception critique (“Seventeen Ways of Criticizing Inception), and I thought it made the most sense to respond to them with a new post. So let’s wade back into Limbo, shall we…

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