Yamustafa!

"When people ask me if I went to film school, I tell them no, I went to films" Quentin Tarantino "mediocre writers borrow; great writers steal" T.S.Elliot "I don't invent, I steal" Ingmar Bergman Tarantino is thought of, by many, as the king, the archetype of 'borrowed' movie making due to his extensive use of popular cultural references. His new movie  Django Unchained  may be labelled his utmost intertextual enterprise. His most ecstatic visual 'text'. It is not a recycle or a remake, I must hasten to assert. * A single frame. A fleeting glimpse had me searching the web. Ok. what search terms should I use? The most unused, I guessed. Image Bloodied Cotton. Got it. Amazing to find someone with identical pursuits. But, maybe different purposes. "The (...) shot of blood spray hitting blooms of cotton is going to be remembered for a long time." Wrote blogger Fiero Fredo Thanks Fredo. Watch the movie shot ...

Final Part Meshes Of the Afternoon This film was produced in 1943 by Maya Deren and Alexander Hamid in Hollywood. It was described as trance film, with both subjective and dreamlike qualities. Unlike The Sky Over Berlin , it seems difficult to provide a short summary about the film, since it has no standard story line to be told. However, we can identify some patterns and movements in the film that are based on small fragmented tales . One is that of a young woman, played by Deren herself, who is looking from a window at a figure in dark dress with its face replaced by a mirror. The young woman, however, can see also herself following the figure, and once more herself following the two! The second fragment is of a man who opens the door of the same flat, finds the young woman and takes her up the stairs. These two fragmented pieces of minimal story elements are broken with similar sub-fragments. All these pieces seem to evolve around each other while the identity of each actor ...

      Part One cont'd The Cinematic Signifier: A History The study of signs and the developments in the field semiotics has given the critique of cinema a big leap ahead, although after more than seventy years of cinema’s birth, film studies as a discipline moved from the mere feature-like reviews of the journalist to the systematic study of film as a form of expression that needed fundamental understanding, as well as studying individual texts. The strong consistent flow of American genre cinema seemed to give the impression that cinema is indeed approachable through the systematic methods of text analysis driven from structural linguistics. “Semiotics promised to track down the units of representation in the aesthetic system [of the genre conventions, and structuralism] to account for the specific narrative shape of the values represented.” However, it seems that the disciplined approaches of linguistics to the study of sign in cinema proved to be t...