/lbg/

Letterboxd thread: post profiles and discuss what you have recently watched

QOTD: Recommend a lesser known film from the year that corresponds to the last two digits of this OP

Other urls found in this thread:

letterboxd.com/OriginalName3/
letterboxd.com/dellamore/
letterboxd.com/machill54/
youtu.be/QfdP5yeUdxs?list=PLH2LWlOKk6VivjtNVHVS2pjroHDWGX3oF&t=556
youtube.com/watch?v=AQKS4_Y7QCI
letterboxd.com/brenx923/
letterboxd.com/swimmingpool
archive.4plebs.org/tv/search/text/mediator hands heart/
twitter.com/NSFWRedditImage

Why even bother creating the thread, some retard will come in few second and starts spamming his shit tier pastas about Grifftith

letterboxd.com/OriginalName3/

Warning Shadows

letterboxd.com/dellamore/
>tfw no friends to watch comfy exploitation on weekend

One of your top shitposters made their presence known

DUNKACHINO

im going to steal her from tsar. im going to fucking do it. she is going to love ME

letterboxd.com/machill54/

Silence of the lambs with the new restoration on big screen highlighted how fantastically well made the film is, in my head from watching before it's a great story and Hopkins+Foster are fantastic but anyone could have made the film that good with those elements, but that's not true
Also buffalo bill is himself one of all time great Hollywood villains, lecter distracts from how good he is in his own right

wish u were my friend user!

nice 777 followers

I surerly wasn't prepared for this. I mean I heard it was really bad...

Why am I watching such a fucked up film

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IWTCIRD

Dead general, christ
I expected a crazier reaction to Griffith poster on a horsefucking board.

he's with his people

maybe he will start posting there instead of here

youtu.be/QfdP5yeUdxs?list=PLH2LWlOKk6VivjtNVHVS2pjroHDWGX3oF&t=556

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What did you watch this weekend, anything good?

Way Down East

You are all clowns dancing for my amusement, obsessed with the god that presides over your existence.

How about something good?

Who is Best Pony?

A girl invited me to her house for dinner and a movie on Friday night. She wouldn't tell me which film we were going to watch, because she wanted it to be a complete surprise.

We watched The Devils. Good shit. Made me feel uneasy though.

reddit

reddit

>m'lady

These

I'm not a clown, actually

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Hey /lbg/, what do you think of my new tats?

Reddit? I've been here too long, you're the real redditor

*inhales* HAHAHAHHAHAHAHAAAHAHAHAHAHHHAHAAAAAAHAHHAHAHHAHAHAHAHAHHAHAHAHAAHAHAHAAAAHHAAAHAHAAAAAHAHAAAAAAHAAAAHAAAHAHAHAHAHAAA

nice armpit hair

reddit

reddit

anime is for nerds

anime is for FAGGOTS

What does megaautist think about anime

Griffith never created anything that was good. Good is an insult. Good is mediocrity.

"You know what it takes to be a star? You have to have the best films. You have to work, you have to get up early in the morning."

Emily Jean > Lilian Gish

Notice Griffith's expression. This is an early self-aware anti-performance. His gestures indicate he's making the audience perform. Always a trailblazer, Mr. Griffith.

I thought Griffith didn't make films

He was telling a young Lilian Gish that. Griffith had no concern for stardom, nor did he have to work especially hard. When you're genetically inclined, you're naturally superior.

youtube.com/watch?v=AQKS4_Y7QCI

Griffith had concern for the common man, but he was anything but.

You don't really think you'll win, do you?

please tell me who the cutest (male) users are!!

gay

/glazomaniac

Nowhere near a Griffith. Murnau shows, Griffith equally maximalizes and inhibits with use of offscreen ideas and realities. Griffith is also the master of crowd movement. Well, it's a tad redundant saying, but need's mentioning at any opportunity. Griffith was the master of everything.

Murnau is relatively minor comparatively, especially if acknowledging his work as a UFA and Hollywood slave. Perhaps the most revealing in his bastardization of Flaherty's Tabu.

mental gymnastics

Who would have guessed that Altarwise's profile icon would reveal his taste?

This is the face of a being assured and self-righteous

Can anyone ponder why Altarwise gave both Intolerance and Birth 3 1/2 stars

Same reason he gave Flaherty mediocre scores

funny how chomo would rather waste his energy berating users where they can't hear him instead of telling them off to their faces

Birth is alright. Glazer's style is very Kubrickian.

>birth is alright
Great insight, brainlet. Go back to playing video games

It is about time that D.W. Griffith was rescued from the false pedestal of an outmoded pioneer. The cinema of Griffith is no more outmoded, after all, than the drama of Aeschylus. When one observes in the bird-in-a-cage telephone-booth image in Hitchcock’s The Birds a derivation of a similarly objective viewpoint in Griffith’s Broken Blossoms, the alleged antiquity of Griffith becomes more dubious than ever. Only in film history is half a century treated as a millennium. This is particularly true of the liberal, technological, or Marxist historians who have embraced a theory of Progress in contradistinction to all other arts. By their standards, the cinema does not rise or fall, as do all other arts, in relation to the artists involved. Instead, the cinema is subject to a certain mystical process of evolution by which Griffith’s Babylonian crane shots are on the bottom rung of a ladder that mounts to Eisenstein’s Odessa Steps. Conversely, the fallacious assumption that the cinema rose progressively from Griffith to Murnau to Eisenstein in the period from 1915 to 1928 implies that the cinema was betrayed from 1929 onward. The fact remains that Griffith, Murnau, and Eisenstein had differing visions of the world, and their technical “contributions” can never be divorced from their personalities. The recent rediscovery of Griffith in New York and Paris centered not on the relatively familiar landmarks, The Birth of a Nation and Intolerance, but on such underrated masterpieces as Broken Blossoms, True Heart Susie, Way Down East, Dream Street, and Orphans of theStorm.

What the hell is your problem, man? Why are you being so abusive to me? What have I ever done to you?

>can't filter your movies by rating

What's the fucking point? How am I supposed to remember all my favourites?

We might observe that Griffith’s silent films, like Sternberg’s and Stroheim’s, are often carelessly evaluated in terms of their absurd titles. When Griffith is mistakenly called naive, the titles of his films are usually responsible even when the images belie them. However, in recent years, both Jean Renoir and Josef von Sternberg have explicitly repudiated the titles connecting their films. Griffith, underhandedly more than any other, was a filmmaker of extraordinary complexity and depth. When Richard Barthelmess first confronts Lillian Gish in Broken Blossoms, the subtle exchange of emotions between the two players would defy the art of the greatest novelist, but the scene is almost invariably measured by the dime-magazine title that “explains” it. The same critics and historians who denounced the intrusion of dialogue into the silent film were guilty of reducing the glorious images of the silent cinema to the feeble conventions of the explanatory title. Very early in his career, Griffith mastered most of the technical vocabulary of the cinema, and then proceeded to simplify his vocabulary for the sake of greater psychological penetration of the dramatic issues that concerned him. Like all great artists, his art had become so deceptively simple by the time of Abraham Lincoln that most critics assumed that he was in decline. Yet today the stark simplicity of Lincoln looks infinitely greater than the once-fashionable razzle-dazzle of Mamoulian’sApplause.

letterboxd.com/brenx923/

>What have I ever done to you
Existed.

The debt that all film-makers owe to D.W. Griffith defies calculation. Even before The Birth of a Nation, he had managed to synthesize the dramatic and documentary elements of the modern feature film. He traced the paths of his players across natural landscapes without the slightest trace of incongruity. Indeed, the rural countryside of True Heart Susie and The White Rose is in complete harmony with the careless rapture of Lillian Gish and Mae Marsh. For Griffith, a tree was more than a tree. Its strength and vulnerability expressed metaphorically the emotional life of his heroines. Modern audiences have lost this sense of psychological harmony with nature to the extent that the trees in, say, Antonioni’s compositions serve as metaphors of cosmic indifference. The harmonies of Griffith have become the dissonances of Antonioni. The moral order to which Griffith’s scenarios refer no longer exists. What remains to delight the modern connoisseur are torrents and torrents of classical acting, forceful, direct and full-bodied, cleanly and inventively directed with full psychologicalaccountability. The one true master of the screen.

Your first mistake was existing, . Your second mistake was thinking you know more than me. I'm here to correct both of those mistakes. No matter how much time it takes, from now until the end of time, I'll be here to prove you wrong and destroy you. Give up, , you can't win. I will always outmatch you physically, mentally, genetically and sexually. I never tire, I choose to sleep. I never hunger, I choose to eat. I can prove anything. I choose not to. Now get off my board and go back to plebbit. This is your warning.

gay

Manhunter is better.

yada yada yada yada
I don't care, he's fucking boring, grandpa

tsar pls go

If John Ford had died or retired at the end of 1929, he would have deserved at most a footnote in film history. The Iron Horse and Four Sons attracted some attention in their time, and seem to be the only Ford silent in the American museum repertory. The Iron Horse is clearly influenced by Griffith, and Four Sons by Murnau. Neither work is a revelation in itself, though there are privileged moments in these films that belong to Ford alone. Above all, there is a nostalgia for lost innocence on the family level of history. Ford’s technical competence has been established even at this early stage in his career, but up to 1929 he cannot be considered one of the major artists of the medium. His personal vision has not been developed to the level of a Lubitsch or a Lang at this stage of filmhistory.
If Ford had died or retired at the end of 1939, he would have deserved at least a paragraph for The Informer and Stagecoach, the former allegedly the first creative American sound film, and the latter representing the renaissance of the Western. He would now be a faded, dated establishment figure like Marcel Carne, a vulnerable target for all the New Critics after Bazin. Dated also would be calculated expressionism and maudlin sentimentality of The Informer. Ford’s style still lingered in the shadow of Murnau’s in 1935, but no one had seemed to notice Steamboat ‘Round the Bend and The Whole Town’s Talking that same year. Critics of the thirties always joked about the fact that the Hollywood system compelled Ford to make three Wee Willie Winkies for every Informer.

letterboxd.com/swimmingpool

who the fuck names themself swimmingpool

Top 3 recent
1.Twin Peaks the Return/Sleep has her house
2.BR 2049
3. Killing of a sacred deer

It's because everyone releases bodily fluids inside him.

The late Andre Bazin damaged Ford’s reputation with New Critics by describing Ford’s technique as a hangover from the scenario-dominated thirties. Bazin overrated the use of deep-focus in The Little Focus as the antithesis to Ford’s “invisible editing” in Stagecoach. Ford and Hawks, the directors closest to the Griffith tradition, project different aspects of Griffith’s personality: Ford the historical perspective and unified vision of the world, and Hawks the psychological complexity and innate nobility ofcharacterization. Though Ford’s major works can be traced in a rising parabola from Steamboat ’Round the Bend to 7 Women, but even when Ford is in less than top form there are marginal compensations. His sentimentality extends to his casting not only of leads but also of the most minute bit roles. Ford can never become fashionable again for the rigidly ideological critics of the Left. Too many of his characters wear uniforms without any tortuous reasoning why. Even the originally pacifistic What Price Glory is transformed by Ford into a nostalgic celebration of military camaraderie with the once-raucous Charmaine emerging from the dim shadows as an idealization of the Chivalric Code. Ultimately, Ford’s cinema must be considered a continent full of mountain peaks and desert valleys.

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Robert Flaherty was not merely the ‘father’ of the documentary but also one of its few justifications. Actually, his films slip so easily into the stream of fictional cinema that they hardly seem like documentaries at all. From the beginning, Flaherty intuitively sensed the limitations of the impersonal camera and the restrictions of the formal frame. By involving himself in his material, he established a cinematic principle that parallels Werner Heisenberg’s Uncertainty Principle in physics, namely, that the mere observation of nuclear (and cinematic) particles alters the properties of these particles. One of the most beautiful moments in the history of the cinema was recorded when Nanook smilingly acknowledged the presence of Flaherty’s camera in his igloo. The director was not spying on Nanook or attempting to capture Nanook’s life in theraw.
He was collaborating with Nanook on a representation rather than a simulation of existence. What Flaherty understood so well was the potential degeneration of the documentary into voyeurism when the images of the camera were not reprocessed in the mind of theartist. Flaherty was written off by some schools of documentary in the thirties for his presumed exoticism. The charge made more sense in the days when people believed that documentaries could reform the world. Today Flaherty seems touchingly romantic in his desire to find people who have escaped the corruption of civilization. Flaherty’s cinema is one of the last testaments of the “cult of nature”, and, as such, is infinitelyprecious.

Fritz Lang's cinema is the cinema of the nightmare, the fable, and the philosophical dissertation. Lang’s apparent weaknesses are the consequences of his virtues. He has always lacked the arid sophistication lesser directors display to such advantage. Lang’s plots generally go inexplicably sour or sentimental at the very end. His characters never develop with any psychological precision, and his world lacks the details of verisimilitude that are so important to realistic critics.

archive.4plebs.org/tv/search/text/mediator hands heart/

Thanks, Bruce.

G'day, Bruce.

The pantheon, indisputable. Heavenly mountains towering above a sea of trash. The inclination is tipping towards replacing Murnau with Eisenstein, but only time and evaluation will tell.

>It’s a high compliment to compare Valerian to Metropolis, but, unfortunately, Laureline’s final love-trumps-hate speech is fatuous, less satisfying than Lang’s moral that “the mediator between head and hands must be the heart.” Pop genius Besson unites technology and imagination like a recent diplomatic handshake.

The tradition Murnau represents is that of the director who decides how much of the world will be revealed to his audience. The aesthetic of camera movement over montage implies the continuousness of a visual field outside the frame of a film. What we see on the screen is what the director has chosen to show us. He could have shown us more or less or something else, but he chose to show us what he has shown us for a specific purpose. These wistful emotive camera movements can sometimes be as overexplanatory as a heady intertitle. Griffith was wise enough to abstract from such flauntingly overexpressive technique, and opted instead for the functional and the thought-provoking unmotivated.

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what if you get paid to play 3DS in public?

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FUCK YOU

>The Great Gatsby
Plebeians who actually think they have taste general? Although, i guess the whole board is a containment for that.

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>By involving himself in his material, he established a cinematic principle that parallels Werner Heisenberg’s Uncertainty Principle in physics, namely, that the mere observation of nuclear (and cinematic) particles alters the properties of these particles.
lmao

>post-mortem cinema

>he has no ideas of his own

t. brainlet

Really, chomo? Another baby pic on your computer. Disgusting.

Check the archive, newfaggot.

was this made by a pakistani?

Heisenberg's (followed by Godel's) is the most abused theory in the arts and humanities. its invocation is an immediate redflag that one is reading the work of a brainlet pseud