LG: I’ll tell you about this phone call from—I have this friend Ellen Carey who’s a famous photographer, and, talking about stuff she said “You gotta stand up for experimental cinema!”, you know, and I feel that there is a kind of shared responsibility that the survivors– It’s a different cast of characters, a little bit, I mean some of the people died but, what I feel most happy about, proud about is, not being like this monster from the past,…

On the Harmfulness of Film Language, on Its Uselessness, and on the Means to Combat It

It was naive to think the ontology of cinema (the world itself!) could ever, or should ever, have been reduced to the fluency of text. Many of our worst today think they can. 

A close up of John Wayne is different from a close up of Gary Cooper, a close up of Wayne at ten in the morning wouldn’t be the same as a…

An exponential articulation on Hawksian mise en scène: boa_noite argues, to say Godard filmed men and women the same would be a deep misunderstanding.

It feels as if Godard's ion has put the pieces together for what I'm looking for in cinema, or maybe to rephrase, on trying to figure out what cinema is. When JLG recreates a painting, it doesn't become reduced to a 'painterly image'; (Greenaway, von Trier, Wes Anderson)…

Where the ex-wife of a gambler is drawn to a man named Chance, and a man named Chance refuses to leave anything up to luck. (to the point of condescension or even mistrust) A drunk and a cripple are referred to exactly as that they are, a boy is named after place and a woman is named after an accessory. Our protagonists are never incarcerated but they are behind bars throughout. Windows are obscured, the boarded up jailhouse and the curtains…