12/29/2014

    Sebastião Salgado, Part 1: The Spectre of Hope

    During the seemingly endless wars and humanitarian crises of recent decades, some “conflict” photographers have been accused of exploiting their helpless subjects, of purveying “poverty porn.” Doubtless, there are NGOs and other aid organizations that have found photographs of starving children and displaced people to be useful tools in their fundraising. Much of this photographic genre

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    Godard and Goodbye to Language

    Only a few ripples remain. When the critic-filmmakers of the New Wave surged against the ramparts of the French “Tradition of Quality,” sweeping away in Cahiers du Cinema the detritus of many post World War II movies, they introduced a revitalized Gallic cinematic spirit, an élan as fresh as when Gance, Delluc, Epstein, Pagnol, Cocteau,

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    Freddie Francis and The Innocents

    On the evening of March 26, 1990, cinematographer/director Freddie Francis made a brief but noteworthy speech on accepting his Academy Award for Glory. After a quick mention of producer Freddie Fields and director Ed Zwick, he said, “I’m only going to pick out one guy to thank, and that’s my wonderful operator, Gordon Hayman.” (Hayman’s

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    10/20/2014

    Stop, Go, Stop, Go: Rob Whitworth and Time Lapse

    Passport? Check. Sneakers? Check? Ramen and espresso maker? Check. Oh, and a couple of Nikons with prime and zoom lenses, a tripod, the all-important ND filters for extended exposures, and a laptop loaded with After Effects. Shanghai based time-lapse filmmaker Rob Whitworth is ready to hop on a plane to any of the world’s capital

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    Mark Harris: Five Came Back

    Unlike 405,399 of their fellow American servicemen (according to the Department of Veterans Affairs), John Ford, George Stevens, John Huston, William Wyler and Frank Capra did return from the trauma of the Second World War. But they were, like all of the “greatest generation” soldiers, profoundly changed by the experience.

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    A View from the Blog

    A few weeks ago, I received a gracious comment from Austrian photographer Reiner Riedler on my recent post about his photographs of motion-picture print reels. I was disappointed that I had been unable to contact him directly for an interview because interviewing artists for these essays has been one of the payoffs of the writing.

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