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Putting the “-ess” in “Sexist”: Why Do We Have a Best Actress Award?

The fact that no woman was nominated for Best Director (after Kathryn Bigelow became the first female to win last year) has caused a stir at this year’s Oscars. I’m not an excessively politically correct individual (just read the blog), but I like to think I’m sensitive to issues like that. Presumably the presumptive female directing nominees would have been either Debra Granik for Winter’s Bone or Lisa Cholodenko for The Kids Are All Right, and – to be honest – I don’t think either was better than any of the five existing nominees. The continued snubbing of Christopher Nolan bothers me far more.

As I thought about the complaint more and more, part of me wondered when the gender of an individual becomes important for awards like this – my gut feeling is “never.” The best is the best, why should we handicap or install quotas? Except for the fact that we do have gender quotas for certain awards. This train of thought led me wonder why we still have a Best Actress and a Best Supporting Actress category… And, to cut a long story short, I really couldn’t think of a good reason.

Are we kidding ourselves?

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Oscar Fatigue and the Pain of a Predictable Race…

You know what? At this stage I’ve seen nine of the ten Best Picture nominees this year, and I’m quite happy. There isn’t a stinker amongst them, and all I’m short is 127 Hours (maybe this weekend, before the ceremony). And yet, despite being happier with the field than I have been in quite a while, I have to admit I’ve grown somewhat tired of the Oscars this year. Usually there’s some element of surprise, but everything this year seems so sown up that there’s really no energy left in the race. One need only look at the overwhelming consensus at Awards Daily to get a feeling for how stale the race is. Admittedly there’s generally a frontrunner or two, but this year it seems that most of the major awards might as well be handed out before the ceremony begins (just to make things more efficient).

You'd have to be trapped under a rock not to see the way this race is going...

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Non-Review Review: Agnosia

This film was seen as part of the Jameson Dublin International Film Festival.

There were a lot of reasons to get excited about Agnosia, one of the anticipated highlights of the Jameson Dublin International Film Festival. The movie was written by Antonis Trashorras, the writer of The Devil’s Backbone, perhaps the film that put director Guillermo del Toro on the map. In fact, this film comes with an endorsement from del Toro himself, which has quite a large amount of weight among the film community. However, Agnosia lacks the magic or elegance of del Toro’s work, with director Eugenio Mira (whose last work was in 2004) able to craft a stylish visual design for the film – but never quite able to create a sense of magic or engagement.

99 Schwarz ballons...

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Eye See You: How Do We Watch Movies?

The Dynamic Images and Eye Movement (DIEM) Project conduct research into where our eyes focus while watching entertainment. They run an informative blog here which goes into their function in more depth and they also have a vimeo channel here. I happened to catch a recent upload from them, covering six minutes from There Will Be Blood. Various circles on the screen indicate where the viewers’ eyes were focused (and for how long). Most of it seems fairly obvious (generally on movement in the foreground, but occasionally the background), but there were one or two surprises (the focus on a light bulb, for example). Watch it below:

There’s also a rather interesting one covering the opening sequence of The Simpsons. This is perhaps more interesting, as you can literally feel the eyes racing to keep track with everything presented at such speed – there’s a lot of movement in it, rather than the relatively static shots from the above film clip.

Also worth a luck (because there’s quite a lot going on) is the trailer for Harry Potter and the Half-Blood Prince. this is another case where the viewer is bombarded with information in quick succession and they are asked to take in a lot in a short time.

I can’t really say that there’s too much here that surprises me, but’s still fascinating to see where the typical viewer’s eye may wander during a given film clip. I wonder if there are directors and cinematographers looking at these clips right now, trying to figure out how to better construct shots.

Either way, it’s a fascinating little look at how we watch those film clips.

Non-Review Review: Outrage (Autoreiji)

We’re currently blogging as part of the “For the Love of Film Noir” blogathon (hosted by Ferdy on Films and The Self-Styled Siren) to raise money to help restore the 1950’s film noir The Sound of Fury (aka Try and Get Me). It’s a good cause which’ll help preserve our rich cinematic heritage for the ages, and you can donate by clicking here. Over the course of the event, running from 14th through 21st February, I’m taking a look at the more modern films that have been inspired or shaped by noir. Today’s theme is “foreign noir” – a look at some of the neo-noir films from outside America.

This film was seen as part of the Jameson Dublin International Film Festival.

Outrage (also known as Autoreiji) is the latest film from actor/director/writer Kitano “Beat” Takeshi. He’s known to Western film fans perhaps best for his role in Battle Royale, but that significantly undersells his talent and his prolific career. He’s probably better known to wider audiences for his role as “Count Takeshi” on the gameshow Takeshi’s Castle (which became all the rage over here a few years ago). Outrage is essentially a Japanese crime thriller, and it follows the typical structure that one might expect from a conventional crime film – all the classic themes are there, from pride to arrogance to honour to betrayal – but what makes the film especially interesting is the way that it deals with the inherent paradox of the Japanese Yakuza.

Somebody's going to be dying their hair...

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Non-Review Review: Infernal Affairs

We’re currently blogging as part of the “For the Love of Film Noir” blogathon (hosted by Ferdy on Films and The Self-Styled Siren) to raise money to help restore the 1950’s film noir The Sound of Fury (aka Try and Get Me). It’s a good cause which’ll help preserve our rich cinematic heritage for the ages, and you can donate by clicking here. Over the course of the event, running from 14th through 21st February, I’m taking a look at the more modern films that have been inspired or shaped by noir. Today’s theme is “foreign noir” – a look at some of the neo-noir films from outside America.

In case you are unfamiliar with the Hong Kong classic, Infernal Affairs is perhaps most recognisable to Western audiences as the film which inspired Martin Scorsese’s The Departed. The film finally won Scorsese a long overdue Oscar, but the raw materials he found himself working with certainly contributed in some manner. The movie succeeds by taking a wonderfully original plot that still fits within the themes of the best crime stories, and telling it in a wonderfully engaging manner.

Go to Hell...

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Non-Review Review: Sin City

We’re currently blogging as part of the “For the Love of Film Noir” blogathon (hosted by Ferdy on Films and The Self-Styled Siren) to raise money to help restore the 1950’s film noir The Sound of Fury (aka Try and Get Me). It’s a good cause which’ll help preserve our rich cinematic heritage for the ages, and you can donate by clicking here. Over the course of the event, running from 14th through 21st February, I’m taking a look at the more modern films that have been inspired or shaped by noir. Today’s theme is “comics noir” – noir filtered through comic book panels.

Sin City is, I suppose, one of those films that lives or dies based solely on its visual style. Although the heavy hardboiled atmosphere compliments the stark black and white contrast, it’s those beautifully and meticulously staged images which come into the mind when one thinks of the Frank Miller adaptation. Based on the writer and artist’s collection of noir-themed comic books set in (Ba)Sin City, Robert Rodriguez’s adaptation manages to faithfully capture the tone and style of its source material. Being honest, it’s one of those movies which can’t help but catch your eye – it’ll just follow up with a punch to the gut.

That little red dress...

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Gotham After Dark: Batman Noir

We’re currently blogging as part of the “For the Love of Film Noir” blogathon (hosted by Ferdy on Films and The Self-Styled Siren) to raise money to help restore the 1950’s film noir The Sound of Fury (aka Try and Get Me). It’s a good cause which’ll help preserve our rich cinematic heritage for the ages, and you can donate by clicking here. Over the course of the event, running from 14th through 21st February, I’m taking a look at the more modern films that have been inspired or shaped by noir. Today’s theme is “comics noir” – noir filtered through comic book panels.

More than any other mainstream superhero, Batman is strongly linked with the film noir tradition. Dating back as early as his first appearances, straight through to Christopher Nolan’s The Dark Knight, the Caped Crusader has always inhabited a world which seems as fragile and broken as any noir protagonist. Just because he trades a trench coat for a cape (which, you’ll note, he makes a point to wear around him rather than just behind him) and a fedora for a cowl, don’t underestimate Bruce Wayne’s flirtation with the darker side of cinema.

The Dark Night?

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Miami Vice: Brother’s Keeper (Pilot)

We’re currently blogging as part of the “For the Love of Film Noir” blogathon (hosted by Ferdy on Films and The Self-Styled Siren) to raise money to help restore the 1950’s film noir The Sound of Fury (aka Try and Get Me). It’s a good cause which’ll help preserve our rich cinematic heritage for the ages, and you can donate by clicking here. Over the course of the event, running from 14th through 21st February, I’m taking a look at the more modern films that have been inspired or shaped by noir. Today’s theme is “a brighter shade of noir” – neo-noir that eschews the dark aesthetic for which the genre is famous.

If I ask you to close your eyes and think of Miami Vice, I’m fairly share I can guess what comes to mind, in no particular order. Speedboats, stubble, sunsets in Florida, the music of Jan Hammer, In The Air Tonight, sharp suits and lots of pastel colours. In fairness, a lot of this is very fair – Miami Vice was a show that had a very polished and practiced superficial exterior, and it’s that aspect of the television show that worked its way into popular consciousness. However, looking back at the show – and especially that first season (and maybe a little bit of the second season) – I think it might also be one of the best neo-noir television shows ever produced. Don’t worry, I’m not being controversial for the sake of being controversial.

Well, not just.

No more Mr. Vice Guy...

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Non-Review Review: Insomnia (2002)

We’re currently blogging as part of the “For the Love of Film Noir” blogathon (hosted by Ferdy on Films and The Self-Styled Siren) to raise money to help restore the 1950’s film noir The Sound of Fury (aka Try and Get Me). It’s a good cause which’ll help preserve our rich cinematic heritage for the ages, and you can donate by clicking here. Over the course of the event, running from 14th through 21st February, I’m taking a look at the more modern films that have been inspired or shaped by noir. Today’s theme is “a brighter shade of noir” – neo-noir that eschews the dark aesthetic for which the genre is famous.

How do you make a film noir set in a community where the sun never sets? You get the Swedes to do it, and then you ask Christopher Nolan to remake it.

I love a good mist-erie...

Note: Unlike most of my noir-related posts, this review will include spoilers for the film. In fairness, you could argue that these are the type of spoilers included in a run-of-the-mill synopsis – but better safe than sorry. If you’re looking for a recommendation, go see this film.

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