tag:blogger.com,1999:blog-16398571.post7828934449779602228..comments2023-10-30T11:57:26.749+01:00Comments on SCREENVILLE: Nuri Bilge Ceylan interview (Climates)Unknownnoreply@blogger.comBlogger7125tag:blogger.com,1999:blog-16398571.post-69385180161410336742007-10-09T03:33:00.000+02:002007-10-09T03:33:00.000+02:00nice blog.very analysing and informativenice blog.<BR/>very analysing and informativechezhianhttps://www.blogger.com/profile/03236309311179606552noreply@blogger.comtag:blogger.com,1999:blog-16398571.post-4079626340956034272007-06-24T12:13:00.000+02:002007-06-24T12:13:00.000+02:00This is a fantastic post, Harry, and I wish I'd se...This is a fantastic post, Harry, and I wish I'd seen it earlier (I just found it through Unspoken Cinema). I subscribe to your blog through Bloglines and am wondering why I didn't see it.<BR/><BR/><I>As if you observe a couple of strangers in a cafe, trying to figure their relationship, their problems.</I><BR/><BR/>That's exactly what I felt when I was watching the film, and Ceylan was Paul Martinhttps://www.blogger.com/profile/10965628567103267009noreply@blogger.comtag:blogger.com,1999:blog-16398571.post-90375305220859348082007-03-31T03:18:00.000+02:002007-03-31T03:18:00.000+02:00yeah...where Mastroianni (sp?) wants a photograph ...yeah...where Mastroianni (sp?) wants a photograph of the pretentious prig and almost gets away with it. The indicative line, though, (a slight paraphrase, perhaps) occurs when the camera's taken away from the photographer:<BR/><BR/><I>"Everybody has a right to their own image."</I>Jo Custerhttps://www.blogger.com/profile/08318512782250774559noreply@blogger.comtag:blogger.com,1999:blog-16398571.post-29708476913580374702007-03-28T18:11:00.000+02:002007-03-28T18:11:00.000+02:00Are you talking about the star interview sequence ...Are you talking about the star interview sequence in <B>La Dolce Vita</B>? I don't remember what's been said in there...HarryTuttlehttps://www.blogger.com/profile/10721542203087536185noreply@blogger.comtag:blogger.com,1999:blog-16398571.post-56288642472100661872007-03-27T02:36:00.000+02:002007-03-27T02:36:00.000+02:00Wow, this sounds intense.I was thinking, oddly eno...Wow, this sounds intense.<BR/><BR/>I was thinking, oddly enough, about neo-realism just today while watching the opening of <I>La Dolce Vita</I> which is one of the few instances of cinema where I'm racked with indecision between laughing and gasping for breath...but my awe of that sequence springs from the intensity of the set-up that still has dynamics all its own -- plenty of time in the set Jo Custerhttps://www.blogger.com/profile/08318512782250774559noreply@blogger.comtag:blogger.com,1999:blog-16398571.post-81428124507997378052007-01-29T13:45:00.000+01:002007-01-29T13:45:00.000+01:00Yes you're right.
Well, that's what happened in Ho...Yes you're right.<br />Well, that's what happened in Hollywood... they were influenced by German Expressionism (or by the German directors refugeed there), and it gave us the Noir genre.<br />I wonder what is the social conscience issued from Neo-Realism that still prevails in CC...HarryTuttlehttps://www.blogger.com/profile/10721542203087536185noreply@blogger.comtag:blogger.com,1999:blog-16398571.post-2387483815775388662007-01-28T22:43:00.000+01:002007-01-28T22:43:00.000+01:00"Discovery of Antonioni, Bresson, Ozu, Bergman at ..."Discovery of Antonioni, Bresson, Ozu, Bergman at the London Cinematheque."<br /><br />There was a note of why certain "contemplative cinema" directors have occurred outside the predominant areal (Asia) and I suppose that's when the individual experience comes into force. Or the specifically historical. I'll explain what I mean by that: in Italy, for example, during the 30s when cinema was Marinahttps://www.blogger.com/profile/16324018240941018404noreply@blogger.com