Referenced Films: All the President’s Men, Captain America; Winter Soldier, Chiantown, Cinema Paradiso, Citizenfour, Cutter’s Way, Double Indemnity, Get Out, Inherent Vice, Minority Report, Mr. Robot S1 E01, S1 E06, Mr. Smith Goes to Washington, Night Moves, Rosemary’s Baby, Seconds, Taxi Driver, The Conversation, The Manchurian Candidate, The Nice Guys, The Parallax View, Three Days of the Condor, Total Recall, V for Vendetta, X Files S4 E10
Since I first saw Malick’s THE THIN RED LINE (1998) the year of its release, I’ve been intrigued by an instant of screen time – a flash of red when opposing forces finally meet at bayonet range. Second and third viewings were needed to confirm that I had, in fact, seen this flash. Years later, when I examined a 35mm print of the film at the level of the strip, I saw that this brief shock of red was the work of two photograms, side by side.
What is this spliced-in shot doing in the scene?
Visually, the color rhymes with a spurt of stage blood from a Japanese soldier shown a few beats earlier, but the photogram itself is not an image of blood. It looks as though a red cloth has been placed over the lens, with a few creases of the fabric visible, and a bit of ulterior light making its way through the stitching.
Malick’s films always have micro-rhythmic inserts that have more to do with visceral sensation than with the filling in of narrative context. In this case, perhaps, the red flash is chiefly there for the sake of indicating the impact of a violent act. But in an antiwar film, red is surely a loaded color. If it evokes the national flags of the two military forces in question, it also bears an association with the cost of life, on both sides.
“It’s not blood, it’s red,” Godard famously remarked of the mise-en-scène in PIERROT LE FOU (1965), but at some level, this red flash in Malick's film is "not red, it's blood." Better still, it is blood and red at the same time: both representational and abstract. Whose blood? It is hard to say, and the confusion is the point.
At heart, the film explores the spatial interval between two sides. Hence the eerie shot-countershot between the bunker atop the hill and the valley below; hence the low-tracking camera that traverses the field between, which often seems alive in its own right, pulsing with insects and wildlife, its grass blades like the tentacles of an organism. The red flash occurs when this interval collapses, in the form of combat at close quarters, amid fog.
Nearly every commentator on THE THIN RED LINE makes a point of distinguishing it from the significantly more patriotic SAVING PRIVATE RYAN (1998), and rightly so. Where the blood in Spielberg's film connotes courage, trauma, and sacrifice, ultimately for the sake of nationalistic commemoration and the gratitude expressed by the elderly Ryan in the film's bookending scenes at a cemetery, Malick's more poetic and pensive treatment of the war regards that very sentiment as an obstacle to the kind of sensitivity that THE THIN RED LINE wants to inspire.
This red flash prompts us to share in the film’s running meditation on interrelatedness and otherness. Despite its ambiguity, the flash issues from the film's rather anti-violent embrace of alterity in a communitarian key. As such, this chromatic gesture undercuts whatever satisfaction we might be inclined to feel as we see the Japanese troops overtaken by the Americans, the side with which the film has primarily (and self-critically) aligned us.
Viewed in this light, this semi-abstract burst of red thematically ties in with the film's ongoing dialogues (between Witt and Welsh, between Tall and Staros) on the value of human life, the laws and proclivities of “nature,” the madness of combat, the possibility of escaping its pathologies and the cynicism they breed. The red flash militates against not only adversarial reductions of the other, but also against the property-oriented thinking and careerist egoism embodied by the higher-ups in the military system (See Leo Bersani and Ulysse Dutoit's reading of the film in FORMS OF BEING: CINEMA, AESTHETICS, SUBJECTIVITY (London: Palgrave BFI, 2004)).
THE THIN RED LINE is not a film that shows us, fully realized and without lingering problems, the condition of interrelatedness for which it yearns. As is often the case in Malick’s films, scenes of “paradise” (from the forest interlude in BADLANDS (1973) to the Native American camp in THE NEW WORLD (2005)) are depicted with no small measure of self-negating irony. What THE THIN RED LINE powerfully lyricizes through its cinematic style is the limited, fragile beginning – not the utopic fulfilment – of a selfless, non-hostile openness onto radical alterity and exteriority as such.
This millisecond of red onscreen goes hand in hand with the film’s endeavor to awaken us to the wonders of what Witt defines as “another world," which is actually a different way of perceiving and co-inhabiting this world, the only one we have.
Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research.
Ensayo audiovisual sobre la cualidad geopoética de una serie de films ubicados en el desierto: en el gesto de acudir al desierto cristaliza un deseo del cineasta de regresar a los fundamentos expresivos del medio cinematográfico, buscando una suerte de esencia del lenguaje cinematográfico como buscaron, refugiándose en el paisaje del parámo, una revelación espiritual los eremitas cristianos.
Los films son, en orden de aparición:
Freedom (Sharunas Bartas, 2000) Gerry (Gus Van Sant, 2002) El Cant dels Ocells (Albert Serra, 2008) La Région Centrale (Michael Snow, 1971) Proximity (Inger Lise Hansen, 2006) Cobra Mist (Emily Richardson, 2008) BNSF (James Benning, 2013) Fata Morgana (Werner Herzog, 1971) Desert (Stan Brakhage, 1976) Chott-el-Djerid: a portrait in light and heat (Bill Viola, 1979)
Video Essay surrounding Denis Villeneuve films & their eerie shots through glass. Music: Jóhann Jóhannsson - The Keeper Music (Prisoners OST) Films: Incendies (2010) Enemy (2013) Prisoners (2013) Sicario (2015) Arrival (2016)
CALL ME BY YOUR NAME, the new film by Luca Guadagnino, is a sensual and transcendent tale of first love, based on the acclaimed novel by André Aciman.
The Psychedelic Furs' official music video for 'Love My Way'.
They'd put us on a railroad They'd dearly make us pay For laughing in their faces And making it our way There's emptiness behind their eyes There's dust in all their hearts They just want to steal us all And take us all apart But not in
Love my way, it's a new road I follow where my mind goes Love my way, it's a new road I follow where my mind goes
Newt Scamander, protagonist of the Harry Potter spinoff, is an unconventional male hero. He performs a refreshingly atypical form of masculinity, especially for the lead in a fantasy adventure story.
This video was made possible by support from viewers like you! If you’d like to see more videos focusing on the intersections of entertainment, politics and masculinity, please head over to my Patreon page and help fund this web series: https://www.patreon.com/popdetective
FOOTAGE USED • Fantastic Beasts and Where to Find Them (2016) • Harry Potter and the Philosopher's Stone (2001) • Harry Potter and the Chamber of Secrets (2002) • Harry Potter and the Prisoner of Azkaban (2004) • Harry Potter and the Goblet of Fire (2005) • Star Wars: A New Hope (1977) • Scott Pilgrim vs The World (2010) • The Matrix (1999) • Doctor Who: The Eleventh Hour (2010) • Thor: The Dark World (2013) • Guardians of the Galaxy (2014) • Star Trek (2009) • A Beautiful Mind (2001) • Back to the Future (1985) • Sherlock: The Blind Banker (2010) • Sherlock: A Study in Pink (2010) • MTV After Hours Hufflepuff PSA (2016)
FAIR USE All multimedia clips included in this video constitute a 'fair use' of any copyrighted material as provided for in Section 107 of U.S. Copyright law, which allows for criticism, comment and scholarship. Learn more about fair use with this awesome app by New Media Rights! http://newmediarights.org/fairuse
From filmmaker Steven Spielberg comes the science fiction action adventure “Ready Player One,” based on Ernest Cline’s bestseller of the same name, which has become a worldwide phenomenon.
The film is set in 2045, with the world on the brink of chaos and collapse. But the people have found salvation in the OASIS, an expansive virtual reality universe created by the brilliant and eccentric James Halliday (Mark Rylance). When Halliday dies, he leaves his immense fortune to the first person to find a digital Easter egg he has hidden somewhere in the OASIS, sparking a contest that grips the entire world. When an unlikely young hero named Wade Watts (Tye Sheridan) decides to join the contest, he is hurled into a breakneck, reality-bending treasure hunt through a fantastical universe of mystery, discovery and danger.
Spielberg directed the film from a screenplay by Zak Penn and Ernest Cline. The film was produced by Donald De Line, Spielberg, Kristie Macosko Krieger and Dan Farah; with Adam Somner, Daniel Lupi, Chris DeFaria and Bruce Berman serving as executive producers.
“Ready Player One” stars Tye Sheridan (“X-Men: Apocalypse,” “Mud”), Olivia Cooke (“Me and Earl and the Dying Girl,” “Bates Motel”), Ben Mendelsohn (“Rogue One – A Star Wars Story,” “Bloodline”) and T.J. Miller (“Deadpool,” “Silicon Valley”), with Simon Pegg (the “Star Trek” movies, the “Mission: Impossible” movies) and Oscar winner Mark Rylance (“Bridge of Spies,” upcoming “Dunkirk”).
Behind the scenes, three-time Oscar winner Spielberg (“Schindler’s List,” “Saving Private Ryan”) reunited his creative team from “Bridge of Spies,” including Oscar-winning director of photography Janusz Kaminski (“Schindler’s List,” “Saving Private Ryan”), Oscar-winning production designer Adam Stockhausen (“The Grand Budapest Hotel”), Oscar-winning editor Michael Kahn (“Saving Private Ryan,” “Raiders of the Lost Ark”) and Sarah Broshar (“The Post”), and costume designer Kasia Walicka-Maimone (“Moonrise Kingdom”). The music is by Oscar-nominated composer Alan Silvestri (the “Back to the Future” films, “Forrest Gump”).
Warner Bros. Pictures and Amblin Entertainment present, in association with Village Roadshow Pictures, an Amblin Production, a De Line Pictures Production, a Steven Spielberg Film, “Ready Player One.”
Slated for release on March 30, 2018, the film will be distributed by Warner Bros. Pictures, a Warner Bros. Entertainment Company, and in select territories by Village Roadshow Pictures.
From visionary filmmakers James Cameron and Robert Rodriguez. #Alita Battle Angel is in theaters July 20, 2018.
Directed by: Robert Rodriguez
Screenplay by: James Cameron and Laeta Kalogridis and Robert Rodriguez
Based on the Graphic Novel ("Manga") Series: "Gunnm" By Yukito Kishiro
Produced by: James Cameron and Jon Landau
Cast: Rosa Salazar, Christoph Waltz, Jennifer Connelly, Mahershala Ali, Ed Skrein, Jackie Earle Haley, Keean Johnson
1. "The Chain" / Fleetwood Mac (GUARDIANS OF THE GALAXY VOL. 2) 2. "The Rhythm of the Night" / Corona (THE DISASTER ARTIST) 3. "I'm Every Woman" / Chaka Khan (GIRLS TRIP) 4. "Love My Way" / The Psychedelic Furs (CALL ME BY YOUR NAME) 5. "Never Gonna Give You Up" / Rick Astley (THE LEGO BATMAN MOVIE) 6. "That's What Friends Are For" / Dionne Warwick (CLIVE DAVIS: THE SOUNDTRACK OF OUR LIVES) 7. "My Way" / Shirley Bassey (NOCTURAMA) 8. "Mystery of Love" / Sufjan Stevens (CALL ME BY YOUR NAME) 9. "Perfect Day" / Lou Reed (TRAINSPOTTING 2) 10. "Visions of Gideon" / Sufjan Stevens (CALL ME BY YOUR NAME)
The 25 Best Films of 2016: vimeo.com/194508152
The 25 Best Films of 2015: youtube.com/watch?v=8-oEEiPYm6Y
The 25 Best Films of 2014: vimeo.com/113355414
The 25 Best Films of 2013: vimeo.com/80862133
The 25 Best Films of 2012: youtube.com/watch?v=Af7ueNy_ozM
Is it a video? Is it a video? I have touched you for the last time Is it a video? Is it a video?
For the love, the laughter I feel up to your arms Is it a video? Is it a video? For the love, the laughter I feel up to your arms Is it a video? Is it a video? Is it a video?
I have loved you for the last time Visions of Gideon, visions of Gideon And I have kissed you for the last time Visions of Gideon, visions of Gideon
For the love, the laughter I feel up to your arms Is it a video? (Is it a video?) Is it a video? (Is it a video?) For the love, the laughter I feel up to your arms Is it a video? (Is it a video?) Is it a video? (Is it a video?) For the love, the laughter I feel up to your arms Visions of Gideon, (visions of Gideon), visions of Gideon, (visions of Gideon) For the love, the laughter I feel up to your arms Visions of Gideon, (visions of Gideon), visions of Gideon, (visions of Gideon), Visions of Gideon
Visions of Gideon, visions of Gideon, visions of Gideon Visions of Gideon, visions of Gideon, visions of Gideon Visions of Gideon, (Is it a video?), visions of Gideon, (Is it a video?), visions of Gideon Visions of Gideon, (Is it a video?), visions of Gideon, (Is it a video?), visions of Gideon (Is it a video?) (Is it a video?) (Is it a video?)