A Sequence on Sequence, Pt. 1

Those notecards? My book, in sum. On each ruled side [not pictured], the first and last sentence of a piece of Critique of Pure Reason. On the other, unruly side, the title of the story in question. Why bother? Mostly for you, or rather, those of you out there who will perhaps read the book. (And thanks, by the way. Thanks even for reading this.)

Which is to say that order always has something to tell us. Viz. the Kuleshov effect, here explained by Alfred Hitchcock: Continue reading

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

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.

Continue reading