“Look at where you are.”
(Spoilers abound.)
Michael Mann’s new film, Blackhat, is a paradox of magnitudes and proximities. The scale is global, as announced in the opening shots that rhyme with the Universal logo just prior and, thanks to the dissolves down to Earth, Charles and Ray Eames' 1977 Powers of Ten. Once on ground, in a nuclear reactor’s control room, the powers of cinema take us yet deeper, smaller, to see how fast data travels across minuscule relays inside a screen, a computer, a network. And this data, or code, is made visible as points of light—dots arrayed and racing in tandem with the image (itself a fiction of code, or data) of this new vast universe—given weight through the thunder and crackle of sound design—a truly cinematic sequence of movement/animation no text can replicate.
This opening serves to illustrate the mechanisms...
(Spoilers abound.)
Michael Mann’s new film, Blackhat, is a paradox of magnitudes and proximities. The scale is global, as announced in the opening shots that rhyme with the Universal logo just prior and, thanks to the dissolves down to Earth, Charles and Ray Eames' 1977 Powers of Ten. Once on ground, in a nuclear reactor’s control room, the powers of cinema take us yet deeper, smaller, to see how fast data travels across minuscule relays inside a screen, a computer, a network. And this data, or code, is made visible as points of light—dots arrayed and racing in tandem with the image (itself a fiction of code, or data) of this new vast universe—given weight through the thunder and crackle of sound design—a truly cinematic sequence of movement/animation no text can replicate.
This opening serves to illustrate the mechanisms...
- 1/20/2015
- by Ryland Walker Knight
- MUBI
Looking back at 2012 on what films moved and impressed us, it is clear that watching old films is a crucial part of making new films meaningful. Thus, the annual tradition of our end of year poll, which calls upon our writers to pick both a new and an old film: they were challenged to choose a new film they saw in 2012—in theaters or at a festival—and creatively pair it with an old film they also saw in 2012 to create a unique double feature.
All the contributors were asked to write a paragraph explaining their 2012 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch in that perfect world we know doesn't exist but can keep dreaming of every time we go to the movies.
How would you program some...
All the contributors were asked to write a paragraph explaining their 2012 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch in that perfect world we know doesn't exist but can keep dreaming of every time we go to the movies.
How would you program some...
- 1/9/2013
- by Daniel Kasman
- MUBI
This documentary about the famous designers celebrates a unique kind of American creativity that anticipates the digital age
This documentary by Jason Cohn and Bill Jersey celebrates a unique kind of American creativity. Charles Eames, in underacknowledged partnership with his artist wife, Ray Eames, created a design studio in the mid-20th century in Venice, California. It was not merely a question of their classic Eames chair. They worked in almost every field of art, architecture and design; acting like an ad agency, they accepted commissions from big corporations like Ibm to produce idiosyncratic promotional films that humanised their sponsors and look now like the most earnest but entertaining instructional movies liable to be shown in Us high schools. The most celebrated of these is Powers of Ten (1968), a 9-minute animation about relative scale starting with an overhead shot of a sunbathing couple, zooming out progressively into space and then...
This documentary by Jason Cohn and Bill Jersey celebrates a unique kind of American creativity. Charles Eames, in underacknowledged partnership with his artist wife, Ray Eames, created a design studio in the mid-20th century in Venice, California. It was not merely a question of their classic Eames chair. They worked in almost every field of art, architecture and design; acting like an ad agency, they accepted commissions from big corporations like Ibm to produce idiosyncratic promotional films that humanised their sponsors and look now like the most earnest but entertaining instructional movies liable to be shown in Us high schools. The most celebrated of these is Powers of Ten (1968), a 9-minute animation about relative scale starting with an overhead shot of a sunbathing couple, zooming out progressively into space and then...
- 8/2/2012
- by Peter Bradshaw
- The Guardian - Film News
"Designers Charles and Ray Eames, respective subjects of the documentary Eames: The Architect and the Painter, and largely credited with bringing modernism into the American living room with their now ubiquitous contoured chairs, may have also helped to comfortably contextualize the philosophy of European modernists within our own post-war progressivism," writes Joseph Jon Lanthier in Slant. "Charles's mantra ('The best for the most for least'), echoes of which are audible in the ostensible aesthetic egalitarianism of Ikea's retail theory, saw the potential for mass production within the rigid, deceptively simplified form and primary color-fetishism of the era's visual artists. Furthermore, the couple's playfully inter-disciplinary, media-obsessed, auto-didactic approach to design — neither were trained in anything in particular, though Ray studied under Hans Hofmann — suggested that a modern man, or woman, could push on by remaining in awe of contemporary advances in science and technology while holding fast to the traditional grievances...
- 11/18/2011
- MUBI
It’s been a while but the Mouth Off team were too tempted by the furious momentum of Christopher Nolan’s Inception to sit this one out and the podcast returns to take apart the latest film from the man some people claim to be ‘The New Kubrick”.
That and other misguided statements about the film are lined up against the wall and debated to death as Bleeding Cool’s Brendon Connelly and I talk all things Nolan – the films and the hype and we also look closer at why Inception has garnered such a overwhelmingly positive response.
As always there’s our Ripped From the Crypt selections to take home with you in a party bag.
Click here to subscribe or listen to the Mouth Off feed in iTunes, where you can also find our older episodes, and if you’re feeling generous please leave us a review.
I hope you enjoy it,...
That and other misguided statements about the film are lined up against the wall and debated to death as Bleeding Cool’s Brendon Connelly and I talk all things Nolan – the films and the hype and we also look closer at why Inception has garnered such a overwhelmingly positive response.
As always there’s our Ripped From the Crypt selections to take home with you in a party bag.
Click here to subscribe or listen to the Mouth Off feed in iTunes, where you can also find our older episodes, and if you’re feeling generous please leave us a review.
I hope you enjoy it,...
- 7/23/2010
- by Jon Lyus
- HeyUGuys.co.uk
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