Shearer & Fonteyn

Bitches. *Atenas do Norte – Edimburgo, Escócia, 1948 por Mark Kauffman Curiosidade: Fonteyn é na verdade uma corruptela de Fontes, seu avô materno era brasileiro. Ou seja, Dame Fonteyn é mais uma das grandes personalidades na arte internacional com ascendência brasileira, tal qual Dario Argento e Thomas Mann. Related articles Margot Fonteyn versus Moira Shearer

True Likeness by Catherine Grant

True likeness: Peeping Tom and Code inconnu/Code Unknown Related articles Psicanálise, Criptografia, Nazis e Peeping Tom: Emergency Island Direct Emotional Realism: The People’s War, Classlessness, and Michael Powell’s Peeping Tom Leo Marks, World War II codebreaker turned controversial screenwriter

War Starts at Midnight!

É, nem lacrimejei. Art Goes On Forever – A Tribute to The Archers Nota: Faltaram Elusive Pimpernel, The Battle of the River Plate, Oh… Rosalinda!!, Ill Met by Moonlight, One of Our Aircraft Is Missing e Spy in Black, alguns destes compreensivelmente porque não foram devidamente restaurados e seria covardia colocar perto de Narcissus e

The Red Shoes por Nat Farbman

Margot Fonteyn versus Moira Shearer

We still had to find the dancer. And the actor Stewart Granger – a guy who knew all the girls – told me: “Micky, you’re looking for a girl?” And I said: “Yes, a girl who knows how to talk and dance.” “You know,” he answered, “there is a Scottish girl in the Saddle Wales

Tales of Hoffmann por Cornell Capa

The Queer Aesthete, The Diva, And The Red Shoes

Out Takes: Essays on Queer Theory and Film – Alexander Doty Related articles British Queer Cinema: A Canterbury Tale

The Princess and the Golden Shoes

Me intrigava o fato de Moira Shearer usar sapatos dourados em Peeping Tom e Michael Powell fazer questão de enquadrá-los, costumava pensar que era algum tipo de toque auto-referente sobre a personagem de Moira em Red Shoes (o que não se anula com a presente referência), atté que encontrei este conto folclórico escocês, uma variação

24 Frames: The Red Shoes Ballet

Isso é o que acontece quando neguinho resolve fazer uma sequência em live-action do Fantasia do Disney. On a more practical level, the multimedia nature of film has made it the ideal means for achieving a synthesis of poetry, music, movement and drama. Nevertheless, only a handful of filmmakers has attempted the kind of fusion

Peeping Tom: 50th Anniversary Blu-Ray

An instructive example of the use of Lacanian theory to examine film is provided by Parveen Adams in her essay on Michael Powell’s Peeping Tom, which tells the story of a young man, Mark Lewis, who films women as he kills them. The film raises questions about the pleasure of the spectator, since the spectator is placed in a position similar to that of Mark Lewis, who Adams argues is a pervert. Such a comparison between the pleasure of the spectator and the enjoyment of the pervert is certainly not new to film theory; it has even become somewhat of a cliche. However, it is precisely this comparison that Adams objects to, on the grounds that it ‘fails to distinguish between a pleasure and the question of jouissance. Adams argues that while Mark Lewis is (almost) entirely caught up within the perverse circuit of jouissance, the spectator is gradually separated from this scenario by a number of crucial shots in the film which disrupt his/her identitication with the protagonist. The jouissance of the perverse Mark Lewis leads him eventually to his death; the framing of certain key images in the film puts the spectator in quite a different position, a position from which a safe pleasure may be derived.

Key Concepts of Lacanian Psychoanalysis

Cameraman: The Life and Work of Jack Cardiff (2010)

Scorsese: Some ballet enthusiasts feel that it’s not the best shooting of ballet. The best shooting of ballet, to be literal about it, would be from head to toe, Fred Astaire had in his contract that you had to keep photographing him from head to toe. But they changed that completely. They paid no attention to that. They made a film about what goes on inside the dancer’s head. It’s how the dancer, he or she, sees themselves, while they’re dancing. So you get the spirit of the dance, you get the spirit of it, and I applied that later to the boxing scenes in “Raging Bull”. What they hear, what they see. What they hear and what they see, very important.

24 Frames: Peeping Tom (Michael Powell, 1960)

As Molly Haskell and others have noted, two main cycles of films have dominated commercial cinema since the mid-1960s in the wake of the women’s movement. The first excluded women (these were the so-called “buddy-buddy” films) in an effort to avoid the problem of sexual difference altogether; while the second, emerging when the problem of

24 Frames: Ato 1 – The Sandman (The Tales of Hoffmann, Powell & Pressburger, 1951)

When we proceed to review things, persons, impressions, events and situations which are able to arouse in us a feeling of the uncanny in a particularly forcible and definite form, the first requirement is obviously to select a suitable example to start on. Jentsch has taken as a very good instance ‘doubts whether an apparently

Boris Lermontov: Oh, in the end, she dies.

“Maybe only The Red Shoes had a realistic point of view of this unique world,” Aronofsky says of the 1948 classic. “It captured the human drama and the sacrifice.” – First look: Ballet thriller ‘Black Swan’ from Darren Aronofsky USA Today ran a story about the forthcoming ballet thriller, “Black Swan,” starring Natalie Portman, two

Anton Walbrook versus James Mason

O que liga ambos aqui não é necessariamente Moira Shearer e o balé e sim talvez uma inspiração comum: Max Reinhardt. O Lermontov de Red Shoes é notoriamente inspirado em Sergei Diaghilev (com uma pitada de Alexander Korda), assim como o Coutray de The Story of Three Loves é notoriamente uma homenagem ao pai do

Cem anos de James Mason – Parte 3

25- O Veredito (The Verdict, Sidney Lumet, 1982)São poucos os dramas de tribunal realmente bons, a maioria esmagadora são um pé no saquinho, esse felizmente é excessão, não só porque o Lumet sempre foi um baita diretor e o Mamet um baita escritor, mas sobretudo porque quem segura as pontas é a dobradinha Newman-Mason duelando

E o Jack Cardiff está vivo e completando 94 anos!

Sapatinhos Vermelhos (The Red Shoes, 1948) Cardiff foi um dos mais deslumbrantes diretores de fotografia de sempre, trabalhou ao lado de Alfred Hitchcock, Richard Fleischer, Henry Hathaway, Laurence Olivier, John Huston, Joseph Mankiewicz e dirigiu alguns filmes, inclusive aquele cult com a Marianne Faithfull e o Alain Delon nos anos 60 (A Garota da Motocicleta,

Centenário de Michael Powell

A Tortura do Medo (Peeping Tom, 1960)