Quite a bit of great reading has quietly stacked up while we were wrapped up with Sundance and Rotterdam, so we’re just going to whip right on through these, alright? Here goes.
Jon Jost posts an update on the standoff between Ray Carney and Mark Rappaport. The whole mess just gets weirder and weirder.
13 versions of Laurence Olivier’s screenplay for an adaptation of Macbeth, long thought lost, have been discovered. Steven Morris reports for the Guardian.
“From Movies To Moving,” Serge Daney, 1989.
Idiom presents “Modern, all too modern,” Keith Sanborn‘s 1988 manifesto, following up with commentary by Giampaolo Bianconi.
Diagonal Thoughts posts a 2006 conversation between Pedro Costa and Thom Andersen about the work of Danièle Huillet and Jean-Marie Straub. Plus: Philippe Azoury‘s interview with Costa and Straub for Libération in 2001.
From Jonathan Rosenbaum: “Chantal Akerman: The Integrity of Exile and the Everyday.”
Richard Brody considers “The State of the ‘Art Film'” and Cahiers du Cinéma‘s list of “the ten pitfalls of the auteur cinema.”
Catherine Grant‘s discovered nine freely accessible issue of Framework: The Journal of Cinema and Media, posted a guide to Queer Film Festival Studies, and notes that a new issue of InMedia is up, “Performing/Representing Male Bonds.”
James Marcus Tucker in One+One Filmmakers Journal: “The Failure to ‘Pass’ in Alfred Hitchcock’s Rope.”
Anthony Paletta in the Awl: “David Bowie’s Forgotten, Campy Berlin Gigolo Movie.”
Imogen Smith at the Chiseler: “Joan Blondell: Gold in a Penny Arcade.”
In the Wall Street Journal, Peter Cowie revisits Fellini‘s 8½, which turns 50 next month.
Glenn Kenny remembers seeing that ending Kubrick cut from The Shining that everyone’s rediscovering all over again.
“Why is the work of one of our greatest filmmakers—the director Alan Clarke—all but invisible?” asks John Wyver.
Michael Atkinson for In These Times: “Alongside Vibeke Løkkeberg’s 2012 Tears of Gaza, two Oscar-nominated documentaries—The Gatekeepers and 5 Broken Cameras—etch a hair-raising triptych of the dire state of affairs for Arabs in Gaza and the West Bank.”
On Frank V. Ross’s Tiger Tail in Blue (2012): J.J. Murphy and Ray Pride (Newcity Film).
Johnnie To‘s Romancing in Thin Air should not have been so quickly forgotten, argues Adam Cook in the Notebook.
“The Sky’s the Limit: Movie magic and the painted sky” at Matte Shot, via Ehsan Khoshbakht.
Allison Anders is listening to Greta Garbo’s record collection.
For W, stars discuss their cinematic crushes, while Juergen Teller snaps photos of more stars.
In German: Ekkehard Knörer‘s History Tour.
Interviews. Everyone’s talking about Mary Kaye Schilling‘s interview with Steven Soderbergh for New York. For good reason, too.
Walter Hill’s talking, and Nick Pinkerton (Voice) and Vadim Rizov (Filmmaker) are taking extensive notes.
Cigarettes & Red Vines, a site dedicated to the work of Paul Thomas Anderson, talks with PTA at length about the making of The Master.
Vanity Fair presents a brief oral history of the making of Pulp Fiction (1994).
For Bomb, E.A. Ireland talks with Caveh Zahedi “about pools and poetry, the analogy of marriage and yoga, and his controversial recent film The Sheik and I.”
Noir. “Anthony Mann is America’s hometown noir hero.” A big series happening now at Not Coming to a Theater Near You.
Michael Atkinson at Sundance NOW: “Simply, noirs are best considered as a whole, as a hive-mind bum’s rush, America whiskey-talking to itself after an innocence-torching war and during a social moment that was supposed to be bliss and was instead empty and scarred.”
Here in Keyframe, Marilyn Ferdinand spoke with Peggy Cummins about playing Annie Laurie Starr in Joseph H. Lewis’s Gun Crazy (1949) before Noir City 11 opened in San Francisco with a tribute to her. That happened on Friday, and Michael Guillén was there to document the evening.
More browsing? See Mike Everleth, the Film Doctor (more), and John Wyver (more; viewing: 1 and 2).
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