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(03/01/12 5:00am)
This past Sunday, The Artist won the Academy Award for Best Picture. A film about the transition from one style of cinema to another, The Artist starts off in the era of the silent film. It allows its form to follow its content, with black-and-white production, 4:3 aspect ratio and silence persisting almost entirely throughout. And as the film rolls, the growing presence of the talkies starts to figure more prominently, and to take control. In a way, The Artist could not have been named Best Picture at a more appropriate time, for now the same sort of revolution is preparing to take place.
(02/02/12 5:00am)
In the second part of Chilean author Roberto Bolano’s masterful 2666, a university professor named Oscar Amalfitano stumbles into insanity as a result of his search for, and supposed discovery of, order in places where there is none.
(01/19/12 11:00am)
Judging by yesterday’s overwhelming anti-SOPA/PIPA sentiment, it doesn’t appear as though many consumers much care about preserving the record label or big-budget studio, which is reason enough in itself to let them go the way of the dodo.
(01/17/12 11:00am)
Every year in April, the Center for Documentary Studies brings the Full Frame Film Festival to Durham for a weekend of film screenings, panels and discussions. This winter, the Full Frame Winter Series will show three of those documentaries in the coming weeks.
(01/12/12 11:00am)
It’s second semester, which means that several hundred juniors are returning from study abroad programs. A friend of mine once told me he “never liked someone more after they came back from abroad than I did before they left,” the implication being that students who study abroad somehow become less likeable in the process. This manifests itself, he claims, in “stories we don’t care about” that abound with “buzz phrases like ‘rich heritage and/or culture,’ ‘host family’ and ‘crazy seven-floored club that plays house music until the sun comes up.’
(12/08/11 1:32pm)
If you know me, then you know that I fancy myself an intellectual. I find myself a well-made man, one who reads works of high literature well and writes them better, who has great taste in the arts and is just at home with an aria by Handel as he is with the choreography of Merce Cunningham. And if you know all of that, then surely you can assume that I am also a fan of dubstep.
(12/01/11 10:00am)
“Time has not been kind to old movies,” explains film historian Rene Tabard about halfway through Hugo, Martin Scorsese’s new 3D family film, at which point the director himself steps in to take up that mantle.
(11/10/11 10:00am)
David Lynch’s filmmaking oeuvre is probably best classified regionally: after beginning his career with several early films set under carnivalesque, otherworldly atmospheres, Lynch dwelt for a time on small-town America, an obsession which, with works like Blue Velvet and television series Twin Peaks, launched him to widespread recognition and acclaim. From there, the highly unusual auteur moved on to Los Angeles, the setting of Lost Highway, Mulholland Drive and, most recently, Inland Empire.
(11/10/11 10:00am)
Much has already been made about the factual and historical underpinnings of Roland Emmerich’s new film Anonymous, based on the theory that Edward de Vere, a 16th century English nobleman, was the true author of Shakespeare’s plays. There is a multitude of inaccuracies at the foundation of the theory, as Shakespeareans both at Duke and elsewhere have been quick to point out, and, if anything, Anonymous does little to cover them up.
(11/04/11 9:00am)
The religious among us will forgive me if I observe that, these days, there isn’t as much space for God on college campuses as there used to be.
(11/03/11 11:52am)
The religious among us will forgive me if I observe that, these days, there isn’t as much space for God on college campuses as there used to be.
(10/27/11 8:00am)
The residue of a significant cultural and social event almost always includes some cinematic response: in the past five years alone, we’ve seen takes on September 11th and the War in Iraq in the forms of United 93 and The Hurt Locker, respectively. As far as the most recent housing crisis goes, Wall Street 2: Money Never Sleeps, Too Big to Fail and now Margin Call have all stepped in with reenactment and commentary.
(10/13/11 9:00am)
I’m starting to get pretty sick of the things people have been saying about Walter White lately.
(10/06/11 9:42am)
In anticipation of the upcoming release of Melancholia, I feel compelled to revisit the debate surrounding Lars von Trier’s last film, Antichrist.
(09/22/11 9:00am)
In more than one episode of South Park, Stan and friends set out to prevent George Lucas and Steven Spielberg from ruining some of the classic films they made years ago—Raiders of the Lost Ark and The Empire Strikes Back among them—via ill-conceived digital “enhancements.”
(09/15/11 10:21am)
“Open up a beer. Go play a video game.”
(09/15/11 8:00am)
Nicolas Winding Refn doesn’t want to be misunderstood.
(09/08/11 8:00am)
It’s a general rule of thumb that it takes around three months to shoot a feature film. Ellen Kuras’ The Betrayal, which will be screened on Tuesday, Sept. 13 by the Duke Human Rights Center and the Kenan Institute of Ethics, is an exception.
(09/01/11 8:17am)
Johnathan Safran Foer was on campus last week.
(09/01/11 8:00am)
“You are asking me to extinguish myself.”
