-- Matthew Swiezynski, at The Art of Memory, has a framegrab post, "trains in cinema, part 3."
-- David Hudson has helpful round-up posts on the new issues of Film Comment and Bright Lights.
-- Two fun collage-posts: Craig Keller's "Entr'acte" and David Pratt-Robson's "Warhol and Pieces".
-- David Bordwell on POV shots.
-- Zach: "Have I written my post yet about how Circles of Confusion is one of the great, largely unsung books on film/photography/art? [...] Some reports peg [Hollis Frampton] as imperious and arrogant. Maybe so. But in Circles of Confusion he mostly comes across as charming, witty, mentally flexible. It's as though you've met someone interesting at a party who knows more than you do about everything, but has either the absentmindedness or good sense to not show they know it."
-- Mubarak on "The Domestic Interiors of Jean-Claude Rousseau": "Here is a chance to discover this filmmaker whom Jean-Marie Straub has called, along with Frans Van de Staak and Peter Nestler, the greatest working in Europe in these times."
-- Dave Kehr on animation in the NYT: "Is the filmed image a flat canvas to be covered with lines and colors, or is it a window that opens onto a pre-existing world? That was a central question for many early film theorists, and with the rise of computer-generated imagery (or CGI, to use the film industry acronym), it has become one again."
-- J. Hoberman in the Voice: "A doom-ridden pulp cabalist with a dark sense of purpose as well as humor, Richard Kelly shoots the moon with his rich, strange, and very funny sci-fi social satire, Southland Tales. [...] Kelly's fever dream premiered at two hours and 45 minutes; now trimmed by 20 minutes—dropping subplots and adding voice-over—it remains a gloriously sprawling and enjoyably unsynopsizeable spectacle. (Indeed, as demonstrated by the Donnie Darko director's cut, Kelly is actually better when his cosmology remains obscure.)"
-- Michael Sicinski at Greencine on the NYFF Views from the Avant-Garde (part 4).
-- Donal Foreman's interview with Marc Siegel, who curated a programme that "brought together and traced the links between several strands of underground cinema from the 1960s: principally, the Zanzibar collective in Paris and, in New York, the work of Jack Smith and the films that came out of Andy Warhol’s Factory."
-- I just ordered a copy of the new Chris Fujiwara-edited, 800-page book, "Defining Moments in Movies: The Greatest Films, Stars, Scenes and Events that Made Movie Magic." Here's a thread at a_film_by.
-- The Siren (who has been nominated for a weblog of the year award) on Joan Fontaine.
-- Acquarello on David Desser's Eros Plus Masscre: An Introduction to the Japanese New Wave Cinema.
-- Posts from two Los Angeleno pals: Doug Cummings on DVD commentaries by Terence Davies and Charles Burnett; and Michael Smith on Resident Evil: Extinction.
-- Jason Sperb on Thomas Cripps' studies of the history of African-Americans in the cinema.
-- The Slovenian film magazine Ekran has put together a special event on "Independent Cinema" for the Ljubljana Film Festival next week. Presenters will include Gabe Klinger (on Brakhage); Neil Young from Britain; Alexis Tioseco from the Philippines (and proprietor of the blog Concentrated Nonsense); Christoph Huber from Austria; and Adrian Martin.
-- Vertigo magazine on new German film: "In the shadow of these mainstream achievements something aesthetically far more interesting (and commercially far less successful, of course) has developed. The names of directors like Christian Petzold (The State I Am In, 2000), Angela Schanelec (Passing Summer, 2001), Christoph Hochhäusler (Low Profile, 2006) or Valeska Grisebach (Longing, 2006) have only recently begun to be whispered by observers of the international film scene. In France this group of filmmakers has already been dubbed the "Nouvelle Vague Allemande" by Cahiers du Cinéma. In Germany the label "Berliner Schule" ("Berlin School") was coined and readily applied – to some of the rather individualistically-minded directors' dismay."
I'm way behind on my new German film viewing. I haven't even seen The Lives of Others (or anything by Fatih Akin), let alone a single film by the interesting-sounding "Berliner Schule." Any reflections, impressions, or suggestions about new German cinema will certainly be welcome.
pic: The opposite of what I'm seeing right now, a carpet of snow on my back porch.