#cinema studies

[mychemicalraymance]

this journal article is the love of my life right now

[mlleforest]

Guyyys ! I'm so glad ! I just received an email ! I got my scholarship to finally go to cinema school ! I've dreamed of going to one since High School !!!!!

I'm officially the happiest woman alive ! 🎊🎉🎊

I wanna thanks the people who liked and/or commented on my post here and there. You guys may not be a lot and barely clicked on a button but it gave me support and some laugh in a period where I was this close to giving up on it for the second time. ❤️

[spaceintruderdetector]

World Cinema and Film Studies Research Archive : sofiacarrero : Free Download, Borrow, and Streaming : Internet Archive

A large curated collection of books, essays, academic studies, and reference materials dedicated to cinema, film theory, film history, media

[cringecasket]

Screen Play Secrets Magazine 1930

[lepsea]

I need to clean my bedroom.

[mixtapefortheapocalypse]

A House of Dynamite: When the Clock Stops and the Questions Begin

The credits rolled, and I sat there in silence. Not the satisfied silence of a story well-told, but the unsettling quiet that comes when a film refuses to let you off the hook. Kathryn Bigelow’s A House of Dynamite doesn’t end—it suspends. And in that suspension, it asks us to reckon with something far more uncomfortable than a nuclear strike: our own complicity in a world rigged to explode. The…

A House of Dynamite: When the Clock Stops and the Questions Begin

[mostthingskenobi]

STAR WARS IN HISTORICAL CONTEXT

I'm really proud of this episode. I finally get to show off my film degree by discussing the New Hollywood era in cinema history--and how Star Wars does and doesn't fit the definition. New Hollywood included films like Bonnie and Clyde, Easy Rider, Taxi Driver, The Godfather, Chinatown, Midnight Cowboy...so, how does Star Wars measure up against these gritty, dark dramas?

The New Hollywood era (also known as Hollywood Renaissance, American New Wave, or New American Cinema) was a period in film history from the mid 1960s to the early 1980s . Famous directors like Martin Scorsese, Francis Ford Coppola, Steven Spielberg, and George Lucas were founding fathers of the movement, changing the face of cinema forever.

You'll learn what created this controversial and groundbreaking era in cinema, with influences ranging from changes in the film industry to social activism to politcal upheaval.

I hope you enjoy!!

[thelonguepuree]

Yet if so much of our thinking and feeling is connected with seeing, some residue of visual emotion which is of no use either to painter or to poet may still await the cinema. That such symbols will be quite unlike the real objects which we see before us seems highly probable. Something abstract, something which moves with controlled and conscious art, something which calls for the very slightest help from words or music to make itself intelligible, yet justly uses them subserviently—of such movements and abstractions the films may in time to come be composed. Then indeed when some new symbol for expressing thought is found, the film-maker has enormous riches at his command. The exactitude of reality and its surprising power of suggestion are to be had for the asking. Anna [Kareninas] and [Alexei] Vronskys—there they are in the flesh. If into this reality he could breathe emotion, could animate the perfect form with thought, then his booty could be hauled in hand over hand. Then, as smoke pours from Vesuvius, we should be able to see thought in its wildness, in its beauty, in its oddity, pouring from men with their elbows on a table; from women with their little handbags slipping to the floor. We should see these emotions mingling together and affecting each other. We should see violent changes of emotion produced by their collision. The most fantastic contrasts could be flashed before us with a speed which the writer can only toil after in vain; the dream architecture of arches and battlements, of cascades falling and fountains rising, which sometimes visits us in sleep or shapes itself in half-darkened rooms, could be realized before our waking eyes. No fantasy could be too far-fetched or insubstantial. The past could be unrolled, distances annihilated, and the gulfs which dislocate novels (when, for instance, Tolstoy has to pass from Levin to Anna and in doing so jars his story and wrenches and arrests our sympathies) could by the sameness of the background, by the repetition of some scene, be smoothed away. How all this is to be attempted, much less achieved, no one at the moment can tell us. We get intimations only in the chaos of the streets, perhaps, when some momentary assembly of colour, sound, movement, suggests that here is a scene waiting a new art to be transfixed. And sometimes at the cinema in the midst of its immense dexterity and enormous technical proficiency, the curtain parts and we behold, far off, some unknown and unexpected beauty. But it is for a moment only. For a strange thing has happened—while all the other arts were born naked, this, the youngest, has been born fully-clothed. It can say everything before it has anything to say. It is as if the savage tribe, instead of finding two bars of iron to play with, had found scattering the seashore fiddles, flutes, saxophones, trumpets, grand pianos by Erard and Bechstein, and had begun with incredible energy, but without knowing a note of music, to hammer and thump upon them all at the same time.

Virginia Woolf, "The Cinema" (1926)