The Bizarreness of Snow White
IN ENGLISH. The animated version of Snow White, produced by Fleischer Studios in 1933, possesses a richly multifaceted oddness. It is a bizarre film full of digressions and inconsistencies, humorously riffing on the original fairytale. Ethan de Seife analyses this wonderfully bizarre film, which combines musical digressions with elements of both surrealism and realism.
Camera Movement in Narrative Cinema
VIDEO-ESSAY. In this visual essay Jakob Isak Nielsen takes a closer look at the contribution of camera movement to “the language of cinema”. He suggests that any camera movement will serve one or more of six proposed functions.
The Design Program and Color Palette of Tinker Tailor Soldier Spy
IN ENGLISH. An unlikely route to originality: see how the unusual visual design and color pallette of Tinker Tailor Soldier Spy is inspired by Erwin Fieger’s photographs.
Inside, Around and About Notorious
IN ENGLISH. Alfred Hitchcock’s classic Notorious (1946), starring Cary Grant, Ingrid Bergman and Claude Rains, demands that we explore free-floating responses to its tormented triangle of characters. In terms of genre, is it suspense thriller or romantic melodrama? Go inside, around and about the film with Adrian Martin and explore its style, meaning and form.
Quiet Qualities and Qualified Quietude: The Sound Design of Gravity
IN ENGLISH. In space no one can hear you scream. This presents an audiovisual paradox. Because how does one create an auralverisimilitude in a space film, if virtually no sound is heard in outer space? In this article Andreas Halskov focuses on the sound of Alfonso Cuarón’s Gravity (2013), a sound design or sound score which in many ways is similar to that of Stanley Kubrick’s 2001: A Space Odyssey (1968).
In English Archive 2003-2013
There are many more features, reviews, and anatomies in English in our extensive archive covering the period 2003-2013.
Names and Naming in John Ford
FEATURE. John Ford is commonly labelled as a ‘visual’ director who was careless about dialogue, even disdainful. However, Ford was not so much careless about words as concerned that they should be trimmed down, and earn their place. Here, Charles Barr argues that names, and acts of naming, are a central thread in his work. Ford is the master not just of the Western, but of the vocative case.
