Sharp eye

La sonrisa efímera (a propósito de Robin Williams)

La sonrisa efímera (a propósito de Robin Williams)

Death_of_Marat_by_David

Jacques-Louis David: La muerte de Marat (1793)


NOTA ACLARATORIA:
Jamás consideré a Robin Williams como uno de mis actores preferidos, si tuviera que nombrarlos diría que son Geoffrey Rush, Morgan Freeman, Willem Dafoe y Jack Nicholson (sólo tengo tres actrices preferidas: Kate Winslet, Tilda Swinton y Cate Blanchett). Pero es innegable que hay cierta cantidad de personas a las que uno le guarda…

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Style remains a highly controversial issue in relation to Mann’s filmography, to such an extent that Mann himself appears distinctly uncomfortable, or even defensive, when discussing his films in relation to style. This is perfectly understandable, when one considers that a very lazy critical shorthand has developed around Mann in mainstream film criticism, which basically suggests that Mann made his name with a flashy and stylised television phenomenon in the eighties, and continues to pursue an aesthetic of style over substance in his movies. (As an aside, it is pretty dispiriting to observe the extent to which mainstream newspaper and magazine film journalism has become dependant on lazy critical short-hand and studio press releases. Following the critical fortunes of particular films on web-sites like Rotten Tomatoes and Metacritic, you begin to suspect that modern films are marketed with a stock of phrases and ideas, which a lot a critics utilise more or less like stencils.)


The whole idea of style over substance is itself largely a false dichotomy, predicated on an negative connation of style as a matter of ostentation and ornamentation. Ostentation and excessive ornament are better understood as a type of style, rather than a definition of the word itself. A film-maker’s style is better appreciated in two senses, both as a characteristic methodology which is sustained, and evolved, throughout each of his/her films, and also as the manner in the film-maker utilises the full panoply of formal cinematic devices to express the film’s content. Mann is an eminently stylish film-maker, in that he conceives cinematic form and content in an almost indivisible, holistic fashion. His films blur both foreground and background, and technique and meaning. This is why they are particularly rewarding after multiple-viewing; after the story has been absorbed, you begin to appreciate how composition, architectural milieu, colour, and a variety of other formal/tonal components combine to achieve the overall effect.

MALÉFICA (Robert Stromberg, 2014) [opinión]

Male

Quiero creer en este momento que la obra de Stromberg llamada «Maleficent» (Maléfica, 2014), es la planificada pero no anunciada mitad de una circunferencia perfecta. Una figura geo-cinematográfica cuya primera parte es «Enchanted» (Encantada, 2007). Ambas son radicalmente distintas en calidad y propósito; aunque sí comparten algo en común: parten del mismo principio de contradicción. Ambas son…

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Nymphomaniac Vol I & II (Lars Von Trier, 2013)

nymphoma

Aunque es mi deseo expreso realizar una crítica a la obra de Von Trier como un todo, consideré necesario realizar dos carteles para cada volumen. Este es el primero.

1. EL PATO SILENCIOSO

¿Poco masculino? No, definitiva y absolutamente femenino. No en el sentido usual que se le da el término, por supuesto. Pero, aún así, completamente razonable. Sería extraño que se diera una conversación entre…

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I absolutely agree!
It is incredible how people get so easily offended by some nudity (not even sex) but doesn’t mind about watching an excess of violence.

For instance, just compare the ratings for Drive (2011) and Shame (2011) on this website. Although both can be considered great cinematic achievements, people tend to feel a lot more comfortable with all the violence in Drive, than with the sex scenes in Shame.

apoetreflects:

 ”If anything is sacred, the human body is sacred.”   —Walt Whitman 

apoetreflects:

 ”If anything is sacred, the human body is sacred.”   —Walt Whitman 

Her [reseña y opinión] (2013, Spike Jonze)

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Desde que supe una de las prácticas comunes en el movimiento literario denominado como surrealismo, siempre había visto con una especie de curiosidad científica (es decir, a distancia) aquella forma de expresarse que generalmente se define como escritura automática. No podía creer que quien siguiera esta práctica pudiese pensar que ésa era una forma ideal de expresarse. Así, sin más.…

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Paradojas de un artículo [una clase de anatomía textual]

Paradojas de un artículo [una clase de anatomía textual]

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Cuestiones a considerar en todos los casos:

  • Primero, el título; como siempre, la parte más potencial de un artículo, el que atrae al público.
  • Segundo, la realidad detrás del título en comparación con el resto del texto (contenido o cuerpo del artículo).
  • Tercero, la precisión y el contexto en el que se da la información (¿mero amarillismo o investigación fundamental y seria sobre un tema…

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