voicesonfilm 3: Movie versus Sight and Sound

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voicesonfilm is an Open Access, co-curated videographic research initiative designed to record, format and share significant voices in the history and development of the medium and its study. With its intimate conversations, voicesonfilm brings you the history of filmmaking and analysis. Using direct interviews with filmmakers, historians and analysts, voicesonfilm offers the viewer the unique privilege of personal insight, comment, knowledge and memoir.

In this episode, film scholar Professor Charles Barr describes the significant changes that took place in British film criticism during the early 1960s.

 

 

 

Professor Barr will be in Dublin on the 27th May 2015 for two events at Filmbase:

 

The Irish launch of his recently-published book, co-authored with Dr. Alain Kerzoncuf, Hitchcock Lost and Found: The Forgotten Films. Click here for full details

&

‘Cultivating Film-makers’, an open panel discussion considering the contemporary face of Third Level Film education in Ireland. Click here for full details

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Video Essay: Mechanised Flights: Memories of ‘Heidi’

Catherine Grant’s video essay in memory of Shirley Temple.
 
A video made on February 11, 2014, in memory of Shirley Temple (1928-2014) who died yesterday. It is forged from personal reflections on HEIDI (Allan Dwan, 1937), and uses refilmed, cropped and re-edited digitised sequences from the black and white, and colorised versions of the film.

The following quotations were swirling around in the editing space, too, along with inevitable thoughts of Laura Mulvey’s videographic study of Marilyn Monroe and Martin Arnold’s found footage experiments.

‘[Shirley] Temple must be approached as an intermediary and complicating presence poised between the adult originated film fiction and the viewer.’ [Gaylyn Studlar, Precocious Charms: Performing Girlhood in Classical Hollywood Cinema (University of Califirnia Press, 2013) p. 67. Read Chapter 1 here: ucpress.edu/book.php?isbn=9780520274242]

‘The only other Temple film released in 1937 was HEIDI, which, according to Edwards, was a story suited to Temple’s “slightly more mature personality”. Edwards points out that Temple’s hair had darkened and her ringlets brushed back into curls. Temple’s theatrical instincts had sharpened, Edwards observes, and she suggested the Dutch song and dance dream sequence. After minor disagreements about the dance steps with the other children in the scene, director Allan Dwan had badges made reading “Shirley Temple Police”.’ Every child was issued one after swearing allegiance and obedience to Temple. Shirley wore one reading ‘Chief’. “Shirley Temple”, Wikipedia, Accessed February 11, 2014: en.wikipedia.org/wiki/Shirley_Temple. Citing Edwards, Anne (1988). Shirley Temple: American Princess. William Morrow and Company, Inc.: 106, 107, 111.

‘Il faut voir cette menue créature secouée par les saccades du numéro “In Our Little Wooden Shoes” dans Heidi: il n’a jamais autant ressemblé à un automate. […] Shirley Temple, un cyborg? C’est une hypothèse.’ Mathieu Macherey, “Allan Dwan & Shirley Temple: L’homme et la machine”, in David Phelps and Gina Telaroli (eds), Allan Dwan (A Dossier) [Lumière, June 2013) 155-159. Online at elumiere.net/especiales/dwan/onlinedwan.php. Also see: mubi.com/notebook/posts/presenting-allan-dwan-a-dossier.

More here: filmanalytical.blogspot.co.uk/2014/02/mechanised-flights-memories-of-heidi.html.

Catherine Grant

http://vimeo.com/86428511

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Video Essay: The Journeys of Martin Scorsese

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As Martin Scorsese’s latest film The Wolf of Wall Street hits cinemas, Film Ireland presents Steven Benedict’s video-essay, which examines the films of the director. Beginning with his early breakthrough works, Mean Streets and Taxi Driver and taking in Goodfellas and The Age of Innocence, before examining his more recent titles Shutter Island and Hugo, it examines the manner in which Scorsese uses the art of cinema as a means of personal expression.

The essay explores the various ways he pulls the audience into the minds of his characters so that we feel what they feel. Working across a wide variety of genres; gangster, musical, comedy, biopic, documentary and concert film, Scorsese is constantly seeking ways to expand the art of cinema and it is through that expansion that Scorsese explores his greatest recurring theme.

Steven Benedict is a well-known radio broadcaster, college lecturer, writer, producer, and director of films and documentaries.

www.stevenbenedict.ie/

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