In Praise of Slowness: How a Worldwide Movement is Challenging the Cult of Speed, Carl Honoré This is a journalistic, well, journey along the lines of Joshua Foer’s Moonwalking With Einstein.…
Cornelia Klecker. “Mind-Tricking Narratives: Between Classical and Art-Cinema Narration.” Poetics Today, Vol. 34, No. 1/2 (Spring/Summer 2013): 119-146. For my purposes, I’ll skip to the parts that relate to art cinema.…
Chuu, Sharon et al. “Exploring Art Film Audiences: A Marketing Analysis.” Journal of Promotion Management Vol. 15, No. 1/2 (2009): 212-228. The study reveals no real surprises, mainly demonstrating by quantitative…
“Doing time: ‘slow cinema’ at the AV Festival,” Henry K. Miller, BFI Sight & Sound Miller differentiates these films (also from the titular AV Festival) from those of Hitchcock right…
“‘Slow cinema’ fights back against Bourne’s supremacy,” Sukhdev Sandhu, The Guardian Essay/report has to do with the AV Festival 12, a film festival in the UK that touts films that are…
The Death of Classical Cinema: Hitchcock, Lang, Minnelli, by Joe McElhaney McElhaney doesn’t really posit a definitive death of classical cinema (one can just imagine how the publishers wanted this…
“In the art cinema, for instance, shifts between ‘objective’ action and ‘subjective’ moments are often not signaled by the narration. This creates a suppressed gap which we retrospectively try to…
From its first shot, here is a film that invites its own phenomenology, another potential description or requirement of the art film. We slowly zoom into a line of men…
An “art film” in the sense that every shot provides a new occasion for experimentation but with a stronger sense of connection between story and plot. Other WKW films, particularly…
The Bling Ring (dir. Sofia Coppola, 2013) – Quick, flashy, blingy, the counterpoint to Somewhere (in terms of editing). Sofia is still very interested in celebrity culture and young women/girls. They’re…
It’s worth noting at the outset that, although published in 1980, this is a doctoral dissertation from 1976. As such, it is dated and functions chiefly (at this point) as…
Another work from Borwell within his broader project of doing aesthetic/formal film history that doesn’t discount the industrial or economic aspects but nevertheless insists that aesthetics on its own demands…
