Moving Image Institute, Entry 3

Now that the Moving Image Institute is over, some lingering images and quotes:

ïIndie publicists telling us they have no idea how three of their favorite films at Sundance–Sugar, Ballast, and Trouble the Water–could possibly be marketed to an ideal audience of young black viewers.

ï Gratitude toward Roger Ebert and Jonathan Rosenbaum for being the only print critics to offer enthusiastic words about online film culture in Gerald Peary’s For the Love of Movies.

ï Ace cinematographer Ellen Kuras (Swoon, Personal Velocity, Eternal Sunshine of the Spotless Mind) telling us that the one thing she wished critics would do is become more versed in technical and formal issues, and consider the intent rather than judge films by convention alone.

ïKuras also suggesting Harris Savides’ (Gerry, Birth, Zodiac) subtle craft represents the best and most overlooked work being done in cinematography today.

ïSony Pictures Classics co-president Michael Barker swooning over having watched Kurosawa’s Dersu Uzala over the weekend; extolling the often overlooked longterm revenues of foreign films despite their reputation for initially poor box office performance; affirming his love of the Dardenne’s L’Enfant; and generally shocking us with his genuine love of movies.

ïFilmmaker Arthur Penn telling us that he was inspired by the French New Wave to make 1965’s Mickey One and how he deliberately sought out Robert Bresson’s cinematographer, Ghislain Cloquet, to shoot it. I haven’t seen the movie, but I very much want to now. Notably MIA on DVD.

ïPenn also telling us theater is a process of refinement, but film is a mystery.

ïDennis Lim recommending Carl Wilson’s book on Celine Dion, Let’s Talk About Love: A Journey to the End of Taste as a model of critical writing.

ïHeather Chaplin and Ed Halter championing video games as potentially new formal experiences with a unique need for serious critical analysis, citing examples such as World of Warcraft and indie games such as Everyday Shooter and flOw.

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