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Showing posts with the label theory

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Michael Mann's Collateral & Digital Cinematography

August 31, 2014

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Frozen: The Hero and True Love

February 03, 2014

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Planet of the Apes (analysis)

December 20, 2013

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Men in Black (quickie)

December 19, 2013

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The Goonies (quickie)

December 18, 2013

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Perfect Blue (quickie)

December 17, 2013

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The Running Man (quickie)

December 11, 2013

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Face/Off (review)

November 29, 2013

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Invasion of the Body Snatchers (analysis)

November 28, 2013

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The Hunger Games: Catching Fire (review)

November 25, 2013

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The Value of Science Fiction (analysis)

November 14, 2013

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Starship Troopers (analysis)

October 31, 2013

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Mimic (review)

October 23, 2013

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Contact (review)

October 22, 2013

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Gravity (review)

October 14, 2013

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Yojimbo (review)

October 11, 2013

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Bridesmaids (review)

October 08, 2013

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Trance (review)

October 07, 2013

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Sucker Punch (review)

August 25, 2013

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Elysium (review)

August 20, 2013

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Wes

Greetings, Meat Popsicle!

Welcome to Screening Notes, my analytical movie review site!

I'm a proud cat dad, culinary amateur, and purveyor of socialist propaganda.

I greatly appreciate comments, positive or negative, so please don't be afraid to speak your mind.

Looking for a review of a specific movie? Try the search bar above or select "Film a Film" to browse an organized archive of my articles in the toolbar above.

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Popular Posts

Violence in Film (analysis)

Violence in Film The purpose of this essay is an exploration of Walter Benjamin's concept of “divine violence” which he defines in his essay Critique of Violence as the complementary opposite of “mythic” or state-founding violence. The idea for this paper arose from the question, “What would divine violence look like in film? Is it possible to represent divine violence? Is it possible for films to participate in divine violence?” My source for this examination of the possibilities of divine violence in cinema is Slavoj Žižek's recent book, Violence (2008)* in which he analyzes several different types of violence under the premise that violence is not always “bad” violence, and that in fact the most visible violence is rarely the “worst”. Starting from this premise I will attempt to extract Žižek's ideas of what constitutes divine violence as it contrasts other types of violence. Then I will look at sever...

The Cabin In The Woods Bestiary

So my analysis of The Cabin in the Woods is taking longer than I expected, mostly because I keep getting distracted by how awesome the movie is . One thing I couldn't help making was this, a list of all the possible monsters which could have terrorized the poor occupants of the cabin (in the woods). So while you wait for me to stop being distracted , enjoy this compilation. (Also please note if you're using Google Chrome then adding Hover Zoom will help you fully enjoy this article - don't worry it's free.) EDIT: My analysis of the movie is finished and can be found here . EDIT2: Someone put some of the images on imgur here , so check it that out if you like. The Cabin In The Woods Bestiary These are in the order seen on the betting board behind Richard Jenkins Werewolf , bet on by Finance. Pretty generic monster. Alien Beast , bet on by Bio Med. Some sources claim a much more direct refe...

Michael Mann's Collateral & Digital Cinematography

Can I just be honest? I don't really know a lot about film. I may talk big about the depths of thematic development or the meaning of cinematic style, but like the rest of us I'm just making it up as I go. But if there's one thing I know for sure about movies it's that I prefer film over digital ( background info ). I think digital filmmaking is good for little more than lowering costs. I love film stock. Sure, some of that love comes from the romantic part of me clinging to the nostalgic notion that it's somehow more "authentic" or "genuine," but there are objective reasons film stock is better looking than digital video. Higher color saturation. Higher resolution. I know which theaters around me haven't converted to digital projection and make an effort to visit them whenever possible. But every rule must have its exceptions.

Layer Cake (review)

Just to make this easier for some of you: if you are a big fan of the Guy Ritchie film-making method (e.g. Lock, Stock and Two Smoking Barrels (1998), Snatch (2000), etc.) then do yourself a favor, stop reading this review, and just go see Layer Cake (2004). It might be the best of its kind. For those of you who might be unfamiliar with Guy Ritchie's style, his movies generally take place in the seedy underbelly of England and involve crime and usually drugs. The way he tells his stories is what stands out for most people and should appeal to anyone who likes to "figure out" movies (or likes to be confused). Despite the deceptive ensemble casting there's usually a pretty clear protagonist (who often gives a voice-over at the film's beginning) and throughout the film the audience is (almost) never told/shown anything the protagonist wouldn't hear/see. This often leads the protagonist and the audience into situations they can't have expected (although ...

Side Effects (review)

I absolutely love Steven Soderbergh , so when my friend Jimmy recommended his most recent film Side Effects to me I was only too happy to oblige. This is the director's third collaboration with writer Scott Z. Burns after The Informant! in 2009 and Contagion in 2011, both of which I found to be rather enjoyable (in fact you'll find The Informant! on the list of my Top 5 Recent Comedies ). In a stroke of good fortune, Side Effects manages to capture the best of both of those movies: the poignant satire of The Informant! combined with the atmospheric filmmaking of Contagion . In this film the satire is pointed at the pharmaceutical industry, but it wraps the critique in a tightly woven psychological thriller resulting in a movie that should be enjoyable for anyone.

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