Departure Day: When it comes to TV, is closure important?
If you happen to follow a decent number of TV critics on Twitter, you may have noticed a minor eruption of late. A schism has emerged, prompted by accounts like The Cancellation Bear, which concerns itself solely with the topic of whether or not series are likely to survive based on current ratings patterns. That may sound perfectly innocent on its own, but quite a few admirers have expressed the notion that they refuse to dive into a series if they get the sense that it will come to a premature end, thereby robbing them of closure. This idea has, naturally, left many critics incensed: isn’t TV a medium founded on chaos, on the thrill of working within limitations and at the whims of fickle audiences? Moreover, isn’t it silly to always want tidy resolution in the context...
If you happen to follow a decent number of TV critics on Twitter, you may have noticed a minor eruption of late. A schism has emerged, prompted by accounts like The Cancellation Bear, which concerns itself solely with the topic of whether or not series are likely to survive based on current ratings patterns. That may sound perfectly innocent on its own, but quite a few admirers have expressed the notion that they refuse to dive into a series if they get the sense that it will come to a premature end, thereby robbing them of closure. This idea has, naturally, left many critics incensed: isn’t TV a medium founded on chaos, on the thrill of working within limitations and at the whims of fickle audiences? Moreover, isn’t it silly to always want tidy resolution in the context...
- 10/18/2014
- by Ricky
- SoundOnSight
+“Sometimes the class struggle is also the struggle of one image against another image, of one sound against another sound. In a film, this struggle is against images and sounds.”
- British Sounds
There was something in the air when Jean-Luc Godard took up the political banner of the late 1960s and shifted his filmmaking focus in terms of storytelling style and stories told, and in a general sense of formal reevaluation and reinvention. Always considered something of the enfant terrible of the French Nouvelle Vague, Godard was keen from the start to experiment with the conventional norms of cinematic aesthetics, from the jarring jump cuts of Breathless (1960), to the self-conscious playfulness of A Woman is a Woman (1961), to the genre deviations of Band of Outsiders (1964) and Made in USA (1966). But Godard was still, at a most basic level, operating along a fairly conventional plane of fictional cinema, one with...
- British Sounds
There was something in the air when Jean-Luc Godard took up the political banner of the late 1960s and shifted his filmmaking focus in terms of storytelling style and stories told, and in a general sense of formal reevaluation and reinvention. Always considered something of the enfant terrible of the French Nouvelle Vague, Godard was keen from the start to experiment with the conventional norms of cinematic aesthetics, from the jarring jump cuts of Breathless (1960), to the self-conscious playfulness of A Woman is a Woman (1961), to the genre deviations of Band of Outsiders (1964) and Made in USA (1966). But Godard was still, at a most basic level, operating along a fairly conventional plane of fictional cinema, one with...
- 10/17/2014
- by Jeremy Carr
- SoundOnSight
The strike by women at the Dagenham Ford factory in 1968 that led to the Equal Pay Act is given the Calendar Girls treatment
Andrzej Wajda's superb Man of Iron (1981) was shot in the Gdansk shipyards at the very heart of Solidarity's activities, gave Lech Walesa a brief role as himself, and became part of the political process it commented on. It was a rare case of a feature film based on a major episode in the history of organised labour made close to the actual events. More typically, Mario Monicelli's The Organizer (1963) was a bracing reconstruction of a strike in late 19th-century Turin. Bo Widerberg's Adalen 31 (1969) lyrically recreated the violent strike in northern Sweden that ushered in 40 years of Social Democratic government.
There was an even greater gap in the case of Comrades (1986), Bill Douglas's epic account of the Tolpuddle Martyrs, the Dorset labourers transported...
Andrzej Wajda's superb Man of Iron (1981) was shot in the Gdansk shipyards at the very heart of Solidarity's activities, gave Lech Walesa a brief role as himself, and became part of the political process it commented on. It was a rare case of a feature film based on a major episode in the history of organised labour made close to the actual events. More typically, Mario Monicelli's The Organizer (1963) was a bracing reconstruction of a strike in late 19th-century Turin. Bo Widerberg's Adalen 31 (1969) lyrically recreated the violent strike in northern Sweden that ushered in 40 years of Social Democratic government.
There was an even greater gap in the case of Comrades (1986), Bill Douglas's epic account of the Tolpuddle Martyrs, the Dorset labourers transported...
- 10/2/2010
- by Philip French
- The Guardian - Film News
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