If beauty is in the eye of the beholder, then there will never be a definitive list of the greatest cinematography, but for our money, one of the finest polls has been recently conducted on the matter. Our friend Scout Tafoya polled over 60 critics on Fandor, including some of us here, and the results can be found in a fantastic video essay below. Rather than the various wordless supercuts that crowd Vimeo, Tafoya wrestles with his thoughts on cinematography as we see the beautiful images overlaid from the top 12 choices.
“I’ve been thinking of the world cinematographically since high school,” Scout says. “Sometime around tenth grade I started looking out windows, at crowds of my peers, at the girls I had crushes on, and imagining the best way to film them. Lowlight, mini-dv or 35mm? Curious and washed out like the way Emmanuel Lubezki shot Y Tu Mamá También,...
“I’ve been thinking of the world cinematographically since high school,” Scout says. “Sometime around tenth grade I started looking out windows, at crowds of my peers, at the girls I had crushes on, and imagining the best way to film them. Lowlight, mini-dv or 35mm? Curious and washed out like the way Emmanuel Lubezki shot Y Tu Mamá También,...
- 4/28/2016
- by Jordan Raup
- The Film Stage
Thoughts occasioned by the release of Adieu au langage
Godard and the Permanently New
One “It has to face the men of the time and to meet/The women of the time. It has to think about war And it has to find what will suffice. It has/To construct a new stage. It has to be on that stage, and, like an insatiable actor, slowly and/With meditation, speak words that in the ear,
In the delicatest ear of the mind, repeat…”
Two “…no artist of any art, has his complete meaning alone. …what happens when a new work of art is created is something that happens simultaneously to all the works of art which preceded it….novelty is better than repetition.”
-and modernity, novelty, superventing contemporareity in his cinema begins with a re-evaluation of screen time, direction, and space and his satisfactions at segmenting space as determined by...
Godard and the Permanently New
One “It has to face the men of the time and to meet/The women of the time. It has to think about war And it has to find what will suffice. It has/To construct a new stage. It has to be on that stage, and, like an insatiable actor, slowly and/With meditation, speak words that in the ear,
In the delicatest ear of the mind, repeat…”
Two “…no artist of any art, has his complete meaning alone. …what happens when a new work of art is created is something that happens simultaneously to all the works of art which preceded it….novelty is better than repetition.”
-and modernity, novelty, superventing contemporareity in his cinema begins with a re-evaluation of screen time, direction, and space and his satisfactions at segmenting space as determined by...
- 6/4/2014
- by Jim Robison
- Trailers from Hell
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