On 6 February 2017, François Truffaut (1932-1984) would have been 85 years old. As it was, he died tragically from a brain tumor at the age of 52, thus depriving the world of cinema of one of its brightest stars. His legacy, nevertheless, continues, being particularly evident in his influence on the current generation of filmmakers.
Every year we worship at the altar of the Super Bowl. It’s the Big Game with the Big Halftime Show and the Big-Name Advertisers. That we do this, explains why Donald Trump is now president. I’ll get to that shortly. But for now, back to the show. From an advertising perspective, the Super Bowl is the most expensive commercial on television. This year, Fox charged upwards of $5 million per 30-second spot according to Sports Illustrated
Bill Murray fought tirelessly to combat the ennui and frustration that accompanied repeating the same day over and over and over again in the film “Groundhog Day.” For him, repetition was torture, but for several of us at Oxford University Press, it’s not so bad…when it comes to reading!
January 20th marks the 71st birthday of American film director David Lynch. At 71 years old, the master of innovative film-making shows no signs of slowing down any time soon. In celebration of his unique and highly influential work in the realm of cinema, this essay takes a look back at some of the director’s best work and discusses what it is that makes his films so memorable and effective.
Wiseman’s films are often, yet mistakenly, grouped with his contemporaries Richard Leacock, D.A. Pennebaker, and Albert and David Maysles as part of the American direct cinema movement of the 1960s and 70s. These filmmakers, like Wiseman, were using recently developed lightweight, portable 16mm cameras with synchronized sound recording equipment to capture events spontaneously, but there the similarity to Wiseman ends.
Back in 1944 the Archbishop of York, Cyril Garbett, wrote in the Radio Times that “the wireless and the English tongue are means by which God’s message of love and peace can spread through the world”. We may find it difficult these days to construe the BBC’s output over Christmas as taking on such a missiological flavour, but certainly in its early days Lord Reith, saw religion as one of the four principal pillars.
2016 has truly been a year to remember — from the amazing competition of the Rio Olympic Games to shock Brexit from Europe, and from environmental woes to the American presidential race. Famous faces have had no shortage of opinions on current events, with celebrities, athletes and politicians not being shy to express their views.
On the cusp of what would have been John Cassavetes’ eighty-seventh birthday, it is not only possible to pause and imagine the work the man could have made throughout his sixties and seventies — think, for a moment, on Cassavetes as being alive and well, writing and directing films in a post-9/11 America — but also we can turn to his works for a lens onto a version of the world that, given the recent state of affairs on this planet, we could sorely use.
With the recent surge of interest in Conrad’s text following the programme airing in July, one needs to question the contribution that BCC’s adaption offers to the oeuvre of Conrad’s criticism. Tony Marchant’s adaption is acutely aware of global relevance of this text, noting that the “contemporaneity just hit[s]” you “in the face”. Yet, his production precisely fails in this presentation of terrorism.
While watching the first episode of Luke Cage, I noticed something of a minor miracle. Starting from the amazing opening credits sequence, you could actually count the minutes before a single non-black face graced the screen. Every character of consequence, heroic or villainous, was black. Not only that, they were characters well-versed in blackness, however stereotypical.
In recent years my academic work has revolved around the analysis of two main concepts: ‘hyper-democracy’ and ‘normality.’ The former in relation to the outburst of forms and tools of democratic engagement in a historical period defined by anti-political sentiment; the latter relating to the common cry of those disaffected democrats – ‘why can’t politicians just be normal?
It’s dark and warm and chaotic. The people in my group are screaming and scrambling to get away from the maniac who’s lumbering toward us with a roaring, smoke-belching chainsaw.
What does the Hebrew Bible have in common with horror movies? This question is not as strange as it might seem. It only takes a few minutes with the biblical texts to begin to realize that the Bible is filled with all kinds of horror. There are strange figures dripping blood (Isa. 63) and mysterious objects that kill upon touch (2 Sam. 6:7).
Not many, however, noted that Stranger Things, with its murderous, tentacled creature unleashed through a trans-dimensional portal into a small town by the experiments of a mad professor, owed virtually everything to the imagination of H. P. Lovecraft. He composed these scenarios over eighty years ago in classic stories like ‘The Dunwich Horror’ and ‘The Shadow over Innsmouth’.
Many people watching UK television drama National Treasure will have made their minds up about the guilt or innocence of the protagonist well before the end of the series. In episode one we learn that this aging celebrity has ‘slept around’ throughout his long marriage but when an allegation of non-recent sexual assault is made he strenuously denies it.
Ang Lee, the two-time Academy Award-winning director, has noted that we should never underestimate the power of storytelling. Indeed, as a storyteller, Lee has shown through his films the potential of stories to connect people, to heal wounds, to drive change, and to reveal more about ourselves and the world. In particular, Lee has harnessed new technology for storytelling in movies such as Life of Pi (2012) and his upcoming feature film Billy Lynn’s Long Halftime Walk (to be released on 11 November, 2016).