prev Post profiles and discuss what you recently watched
QotD: What if I told you megaautist is an ugly half-gook knee deep into the movie piracy circle known as HDBits?
/lbg/ - Letterboxd General
Henry Phillips
Other urls found in this thread:
archive.4plebs.org
archive.4plebs.org
archive.4plebs.org
archive.4plebs.org
archive.4plebs.org
archive.4plebs.org
archive.4plebs.org
archive.4plebs.org
archive.4plebs.org
en.wikipedia.org
sensesofcinema.com
letterboxd.com
letterboxd.com
twitter.com
Luke Edwards
...
Gabriel Ross
Reminder that Eddys parents supported Obama.
Nolan Campbell
who the heck is eddy
Dylan Parker
Bentley Lewis
On the strength of Broken Blossoms, Griffith now released The Greatest Question, another World War pastoral he made for another company before the inception of United Artists. Griffith made The Greatest Question with the theme of possible communication between the dead the living. (In England the director had met Sir Arthur Conan Doyle. In America he had spent many hours with Harry Houdini, the famous magician and a Doyle disciple of spiritualism).
Daniel Hall
Isaiah Jones
Kayden Sullivan
Jackson Hernandez
Joe Schenck, one of the best organization men in Hollywood, took the helm of United Artists when it was under for a short period, but then Chaplin had an argument with Schenck about the latter's idea to merge United Artists with Metro-Goldwyn-Mayer, and Schenck took a walk. At this juncture Griffith informed United Artists that he wanted to make a picture about Christ and Napoleon. The story leaked to the press and one trade journal slyly proclaimed: UA TO FILM GRIFFITH STORY.
Nathan Howard
shut up pedo
William Cooper
>en.wikipedia.org
>If we go by this definition not much on the list is "pure cinema". Having no story or characters and conveying an emotional experience only through camera techniques seems to be the definition that I understood from the wikipedia article
Adrian Turner
>story
>characters
Whoops! Scower through reviews. Griffith is not story, neither is he characterization. That is why he is discouraged by the genral populace in favor of late Murnau, Lang and Dreyer
Josiah Fisher
megaautist
Bentley Hughes
Are Eisenstein and Flaherty story and character, /lbg/?
No, that is why that they are discouraged by the general populace.
Julian Lopez
>The clearest examples of pure cinema are said by essayist and filmmaker Hubert Revol to be documentaries
Hudson Howard
>The clearest examples of pure sexuality are said by essayist and degenerate Megaautist to be little children
Nathaniel Rogers
>The clearest examples of pure sexuality are said by essayist and Lord and Savior Jesus Christ to be frogs.
Josiah Richardson
"The middle man will be eliminated," pointed out Abrams, "and we'll all slice the box office melon. As a producing director, you can write your own ticket." The last remark was all Griffith remembered. While the talks went on, Griffith made several pictures for Artcraft, including A Romance of Happy Valley. It was a another personal work about boy makes good in the big city, returns home in time to save his family from the poorhouse. Home, in this case, was DW Griffith's boyhood home in Kentucky, and there were several scenes of remarkable rural beauty, including a nineteenth-century revival meeting that had documentary quality.
Alexander Stewart
...
Samuel Lewis
Why do cinephiles consider Eisenstein mediocre?
Thomas Reyes
...
Hunter Young
Cinephiles are mentally ill
Ian Jackson
eisenstein does not interest me
Alexander Bell
why do you believe que viva and october are even on the same level?
Gavin Stewart
After completing his “revolutionary tetralogy” Eisenstein had to wait almost ten years for a successful film project. This was his period of unrealised plans and aborted enterprises. Admittedly, Eisenstein’s unfinished film projects occupy a peculiar place in film history: they stand like ghosts just on the threshold of materialisation and yet, even from this liminal position, they manage to exert a powerful influence.
One of the most ambitious of these was his idea of filming Karl Marx’s Das Kapital, which preoccupied Eisenstein during 1927-1929. Believing that films of the future “will have to do with philosophy”,20 he envisaged Capital as a new form of cinema – that of the “film treatise”, using a new, “discursive” type of cinematic language. October had represented a departure from narrative/descriptive cinema towards a more “discursive” cinema, paving the way for the more radical type of intellectual montage that Eisenstein planned for Capital – a montage capable of communicating abstract conceptual meaning and philosophical ideas. Importantly, the new “film treatise” would provide not only new representational and expressive strategies but also “their rationalization which takes these strategies into account”. The “film treatise” thus becomes reflexive in a very fundamental sense – it is the film that simultaneously “thinks” its theme (capital) and ‘thinks itself’, that is, reflects on the cinematic process.
Leo Anderson
While the project of filming Capital was never realised, the idea – as a limit case of modelling cinema’s capacity to express and articulate thought – still hasn’t exhausted its generative potential. The project also acquired an interesting after-life in the magisterial recent essay-film by Alexander Kluge, News from Ideological Antiquity: Marx/Eisenstein/Capital (2008) – an eight-hour meditation on Marx’s and Eisenstein’s heritages. Less directly, the legacy of the idea of the cinematic treatise can also be seen in the current explosion of interest in the form of the essay-film, particularly as a genre of film criticism.
With the idea of filming Capital, Eisenstein’s exploration of the possibilities of intellectual montage reached its peak and probably also faced an impasse. Beginning in early 1930, he expanded the scope of his analysis of film’s expressive means and turned to a broader exploration of how cinema engages the senses and the sensorium – encompassing all the categories of perception, ranging from the cognitive and intellectual to the sensory and carnal. This agenda inspired two projects that were started early in the 1930s: a film, Que viva Mexico! and Eisenstein’s formidable but unfinished theoretical study, Method, on which he would continue working until his death.
In 1929 Eisenstein travelled abroad with his assistant Grigory Alexandrov and cameraman Eduard Tisse to study the new technology of sound film. Following a tour of Europe they arrived in the US, where Eisenstein tried, without success, to secure a contract with one of the major studios. However, in 1930 Upton Sinclair expressed an interest in his work and offered financial support for Eisenstein’s historical film about Mexico. In 1932, Stalin, suspecting the trio of defecting, ordered Eisenstein, Alexandrov and Tisse to return to Russia. On the way back, Eisenstein became separated from his footage for Que viva Mexico! and the film remained unfinished.
Xavier Robinson
Eisenstein explained that he conceived Que viva Mexico! as “a big poem about life and death”, covering three millennia of Mexican history. The scenario involved six episodes – Prologue, Sandunga, Fiesta, Maguey, Soldadera (the only episode that was not completed) and Epilogue. The episodes were to be set in different regions and to focus on different aspects of Mexican history and culture, ranging from the ancient Mayan to the present-day. The key focus of the film was on exploring the fascinating and paradoxical simultaneous co-existence of various historical epochs and cultural formations that Eisenstein witnessed in Mexico.
The film was supposed to stage the temporal polyphony of Mexico in a variety of ways. A prologue features dark Indian faces and figures wearing serapes next to the ruined monuments and stone sculptures. “The time of prologue is eternity. It might be today. Or twenty years ago. Or it might well be a thousand,” wrote Eisenstein.21 The first episode, Sandunga, is set in a village where the way of life has remained unchanged for millennia and “time flows slowly”. There is a focus on naked human bodies, and the emergence of a completely new theme for Eisenstein, an interest in sexual desire. Throughout the Fiesta episode Eisenstein explores the legacy of Cortes’s invasion of Mexico in the 16th century with an elaborate juxtaposition of codes and symbolic imagery from pre- and post-colonial eras. The Feast of the Virgin reworks cults of much more ancient gods, predating colonisation. In the Easter ceremony of the Stations of the Cross Eisenstein shows a line of pilgrims crawling on their knees up the thousand steps of a great monastery that used to be a pyramidal Mayan temple.
Isaac Rogers
The imagery can be read in different ways: as an attempt to emphasise that there is a continuity in Mexican culture from pre-Columbian times to the present – surviving in essence but taking on different forms – or as revealing a tension between the present and an ultimately irrepressible traumatic past. The Epilogue features some of the most memorable and unnerving images Eisenstein created in Mexico: death masks, skulls and skeletons interspersed with smiling children’s faces and fairground merriments, all participating in celebrating the day of the dead – the carnivalesque victory of life over death – but at the same time, a macabre reminder of the proximity to annihilation.
Compared to Eisenstein’s films of the earlier Soviet period, Que Viva Mexico! demonstrates a new interest in the bodily and erotic; in myth, ritual and ethnography; in the grotesque and carnivalesque. It also marks a shift towards a different attitude to religion, which Eisenstein here acknowledges and explores as a powerful cultural force. Eisenstein’s new outlook also encompassed his interest in drawing that re-emerged in Mexico and resulted in a massive cycle of confronting works that blend religious, erotic and obscene references.
David Cooper
why don't you write something yourself instead of stealing excerpts from other sites
sensesofcinema.com
Henry Collins
Que Viva Mexico not only exudes Eisenstein learning from Griffith but now fully learning from Flaherty. All-encompassing of human existence through representation and resurrection. Representation as paradoxical immortalization and self-destruction.
Logan Johnson
nice buzz words, pseud
Nathaniel Parker
It was apt for the occasion, I wasn't disguising. If you don't read what I've written before that's not my problem.
Thomas Torres
>fake mega autist is embarrassing himself again
Hudson Ortiz
In 1947 Ernst Lubitsch won an Honorary Oscar for 'his distinguished contributions to the art of the motion picture'
Parker Morales
I anticipate when he changes his score !!
*giggles
Daniel Peterson
I'm hungover lads, I've been watching Seinfeld all day but I'm getting a little tired of it. Any good hangover movies you could recommend?
Nathaniel Edwards
withnail and I
Austin Cooper
doubt it
Tyler Hughes
>Stroheim never got one
Ryder Ramirez
What did he do that was noteworthy
Elijah Richardson
and he never will
Samuel Jenkins
Nothing. Nothing at all.
Luke Rodriguez
>highest score to eisenstein's worst work
what did he mean by this?
Jeremiah Rogers
that reminds me I downloaded Taipei Story recently, I should watch that.
Parker Garcia
He craves storytelling. He wants an individual to follow casually. He doesn't crave, documentaries, he craves essays that explain everything for him
Elijah Gutierrez
Edward Yang > Griffith
John Bailey
Yes
Hudson Richardson
what are you gonna do about it
Jayden Wood
You crave whining and you will always be a slave.
Chase Ortiz
Threadly reminder that Edward Meme is a Yang
Nathan Richardson
You will continue to suck up to me as long as you remain here, but you will never become an ounce of me. You are and always will be a slave.
Asher White
ok thanks
Blake Allen
fag
Hunter Jones
>thanks
Thank yourself, you need the reassurance.
Jackson Rodriguez
thanks
Michael Walker
I give it a couple days.
Aaron Perez
...
Logan Clark
For what?
Jack Harris
when you inevitably change your score
Tyler Hernandez
yeah well im just not gonna
William Perez
why would i do that
Angel Ramirez
*bumps Stroheim up 10 spots
Oops!
William Wood
Why did you, slave?
Wyatt Adams
I didn't.
Ryan Taylor
letterboxd.com
Is Stagecoach a perfect movie?
William Taylor
B-b-b-but I didn't!
Landon Moore
megaautist is OBSESSED
Ryder Robinson
>Stagecoach
Why do people give stageplays 5 stars
Ryan Thompson
no
Eli Morgan
Why are you an irredeemable idiot?
Joshua Young
He's like a gnat that won't go away.
Henry Anderson
>He's like a gnat that won't go away.
That's you!!
Lucas Jones
Go watch theatre.
Lucas Wood
...
Ethan Taylor
There is nothing whatsoever about Stagecoach that indicates it belongs on stage.
Matthew Bell
it has stage in the title
Brandon Diaz
I'll kill you and wear your skin
James Lewis
Go watch stageplays
Liam Harris
gay
Julian Rodriguez
Cheap sets and rear projection.
Kayden Martinez
Dropout faggot called Lincoln hokey, but Stagecoach is one of the hokiest plays ever made
Carson Evans
Disparate individuals with various economic backgrounds that HAVE to get along!
Carter Young
Kiddie bullshit like all his mock westerns
Jason Foster
Four Frightened People > Stagecoach
William Allen
>Fordian sense of community
Easton Garcia
Griffith, Flaherty, Eisenstein, and Stroheim aren't silly frilly gush like Ford. They aren't about simplified notions of "working together". They're about destruction and inherent revolving conflict, the underbelly and the hierarchy that circumvents and abuses. The malleability of power and the dubious concern of value in success.
Jose Reed
HEY THAT SOUNDS LIKE WELLES
Caleb Cruz
I saw some Griffithniggers the other day. Filthy creatures....
Josiah Scott
Not so fast dumdum
Levi Torres
JOHN FORD CATALOGUED EVERY EPOCH OF AMERICAN HISTORY
Wyatt Adams
Not so fast dumdum. He didn't do the American Revolution.
Nolan Richardson
The genius of Griffith and Flaherty is their search for the ultimate suppression of conflict, the abstraction of conflict to attain intrajuxtaposition. This is why this dumdum considers Que Viva Mexico a failure. Because it is Eisenstein fully learning from Isn't Life Wonderful and Moana. Searching for the answer, the truth of a peoples' culture and its effects on their structuralist power stasis. He is no longer looking for the physical but the metaphysical.
Daniel Sanchez
lbg is a flat circle. why are you even creating new threads. same shit over and over again. is this just the original3 samefagging for weeks or what
Charles Butler
...
Aaron Edwards
WAHHHHHHHHHHHHHHHHHHHH GRIFFIN AND EISENSTEIN SUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCKKKKKKKKKKKK!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
WHERES COSTA WHERE STRAUB HUILLET???????????????? WHERES MALICCCCCCCCCCCCCCCCCK????????????????????????????????????????????? WHY DON'T DEY SWING DUH CAMERAS??????????????????????????? WHY CAN'T I UNDERSTAND DEM?????????????????????????
Landon Price
...
Josiah Bell
Why should I get a Letterbox? Is it just to catalog my taste and get recommendations?
William Lewis
you shouldn't
Liam Torres