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Revision as of 10:54, 12 December 2018
notes: opticals
making a camera: terminologies and meditation)
psyche
relevant
floater
the form of dwarsliggers
memories in relational database
To Read Contemporary Art: A Very Short Introduction [1]
stories
Making A Judgment On Love | With Giancarlo Esposito [2]
The Moth Radio Hour: Stepchild, Big Brother, Mugshot [3]
What Can You Hear? [4]
watch list
watched
| name (year) | director | one thing noted | month of viewing | place of viewing |
|---|---|---|---|---|
| Crazy Rich Asians (2018) | Jon M. Chu | cried through this comedy (oh the shots of New York skyline) | 08.18 | kino |
| Kanazawa Shutter Girl (2018) | Terauchi Kotaro | "typology" | 09.18 | lv (subscribed to cineville for the Camera Japan Festival) |
| Mori, the Artist’s Habitat (2018) | Okita Shuichi | the audience chuckled, why... | 09.18 | lv |
| Bodysong (2004) | Simon Pummell | witnessed(?) a dozen births at 10 o'clock in the morning | 10.18 | class |
| The Propaganda Game (2015) | Álvaro Longoria | the shooting conditions were transparent | 10.18 | netflix |
| Side by Side (2012) | Christopher Kenneally | history of technology | 10.18 | class |
| Leaning into the Wind (2018) | Thomas Riedelsheimer | the audience laughed whenever there was a contemplative silence (esp. when Goldsworthy climbed through the branches). was silence unbearable for them? | 10.18 | lv |
| Fantastic Beasts: The Crimes of Grindelwald (2018) | David Yates | lost in the plot, highly stylized, tears over two scenes (Dumbledore & Leta, the fight between Grindelwald and the good people) | 11.18 | cinerama |
| The Children Act (2018) | Richard Eyre | tears over the scene when Our Lady cried about the boy, the only instance of her vulnerability and the re-uniting moment of her marriage | 11.18 | lv |
| The Wife (2017) | Björn Lunge | classic dramaturgy, interwoven conflict(s), compact dialogue | 11.18 | cinerama |
| Widows (2018) | Steve McQueen | audio as a layer on top of the situation (conversation in the car + shots of car from the outside + transition of one place to another in one shot, radio telling one secondary story over another secondary story), dramatic cuts | 11.18 | kino |
| Touch Me Not (2018) | Adina Pintilie | the aesthetics does not match the content, too stylized and too removed, the silence, hesitation and alternative practices make you think, but not feel; not feeling very well during + after | 12.18 | lv |
To watch
Paris, Texas (1984)
A Strange Love Affair with Ego (2015) Ester Gould