Tag Archives: perception

How Music Ruined a Potential Masterpiece: Christopher Nolan’s Dunkirk and its Greatest Failing

There’s much in Nolan’s audacious new feature worth commending, chief among which is the underlying conceptual apparatus of time and rhythm and the greatly immersive experience it generates.  Cross cutting between three divergent storlines yet maintaining a parallel flow of … Continue reading

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Bloodsport: A Prime Example of Affective Cinema

In spite of nostalgia’s effect on my revision, and in spite of Bloodsport’s apparent contrast to what we generally deem cinematic art, the cult-classic remains fastened on the minds of many a cinephile. Such a phenomenon surely calls for retrospection, and … Continue reading

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Pompeii (Anderson, 2014)

Paul W.S. Anderson’s Pompeii (2014) blew me away. Judging the trailer and posters, one does not expect a masterful film, nor even a reasonably good film. 3D, CGI, and romantic melodrama rarely appeal to higher artistic sensibilities, and I for … Continue reading

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The Film Cut and Mental Anxiety

The cinema is conscious. This is not a novel idea. There has been much discussion of this in the world of film theory. The cinema is not only reflective of visual culture but an instance of our own reality. In … Continue reading

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Videodrome (Cronenberg, 1983)

   Cronenberg uses film theory to transform mediate objects into perceivable flesh. From Bergson to Deleuze, the cinema is conscious; it is consciousness reified. Perception of an image is always a subtraction of said image. The visual image is reality … Continue reading

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Bresson, Ranked

“Make visible what, without you, might perhaps never have been seen.” Bresson’s style of accentuating minimalist details — closing up and slowing down on body parts or material items — repletes his films with a transcendental slowing down of one’s … Continue reading

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Au Hasard Balthazar (Bresson, 1966)

It seems rather fitting that I end this retrospective by watching Bresson’s Au Hasard Balthazar (1966). A retrospective is to look back on a person’s work, and Au Hasard Balthazar is concomitantly both the first Bresson I ever saw, and … Continue reading

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Distortion Of Truth – Kurosawa Akira’s Rashômon

Kurosawa Akira’s Rashômon (1950), a jidai-geki or ‘period piece’, is both a profound examination of the human condition, and a phenomenological meditation about the nature of reality, perception, and truth. The film stars Mifune Toshirô  as ‘the bandit’, Tajômaru; Kyô … Continue reading

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