The film-blogosphere is ever-expanding, and that's exciting. I’ve poked my head briefly into a few other blog communities (e.g. Lit, Music, Mp3) and I can tell you that we’re lucky to have one special weapon no one else does: David Hudson. Thanks to his 24/7 dedication—serving never his own writing talent but always the words of others!—we discover new, valuable blogs as soon as they enter his radar range. So, I thought we could pitch in today and help this always-ongoing scouting effort by sharing some of our own recent blog discoveries.
Some filmblogs that have become regular reads for me since I discovered them in the last few months:
Expanded Cinema (Joao Ribas, New York). Avant-garde cinema online viewing posted by an art curator.
Gareth’s Movie Diary (Gareth, Boston). World cinema posts, especially oh-so-rare African cinema coverage.
Pilgrim Akimbo (Tucker Teague, Eugene, Oregon). Tucker also goes by "Cineboy"; an example post: "Les Carabiniers and the Death Dance of Imperialism."
Shooting Down Pictures (Kevin Lee, New York). Kevin painstakingly assembles large and valuable one-stop posts that collage material from several sources on a particular film. e.g. The Sorrow and the Pity (1969).
Are there filmblogs you've begun reading recently that you'd like to turn us on to? Feel free to post links in the comments if you like....
I linked to it in the comments of the previous post, but this viewing tip deserves a bright little spotlight flare of its own. At the Monash University site, there is a link to video and audio of the book launch for Nicole Brenez’s Abel Ferrara. The speakers include Edward Colless and the book’s translator, Adrian Martin. Their remarks are insightful and contagiously enthusiastic; it's cinephile catnip.
Brenez’s book, which I recently finished reading, is simply a jaw-dropper, unlike any other film book I’ve read. It’s impassioned—both politically and cinephilically—and charges at you in one swift burst of non-stop wall-to-wall ideas. (I put up an excerpt from it in this older post.)
The book is not organized conventionally in the form of chapters. Instead, it’s one long essay modularized into small sections with wonderfully evocative titles (e.g. “Oceanic Death,” “Larval Fictions,” “Fury: A Guide to its Evolution,” “The High-Water Mark of Subjectivity,” “Rough Beast, Scrap Heap, Authentic Virtue”). I made up a meaty reading list from her touchstone references: Hegel, Bataille, Adorno, Benjamin, etc.
Brenez knows these films backwards and forwards. She’s almost sub-atomically attentive to minute details of every kind imaginable—plot, theme, character, acting, composition, texture, movement, editing, sound, etc.—and is constantly drawing brilliant connections within and across films. Reading her makes you want to resolve to watch every film, from here on out, more closely, more vigilantly….