791 Öffentliche Darbietungen, Film, Rundfunk
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Institute
Krzysztof Zanussi has been an increasingly major figure on the European film scene for the past decade, and today his reputation is beginning to spread throughout America. Critic Roger Ebert has called him "the best living maker of films about ideas" and his presence is constantly demanded by a growing list of American film festivals. The Museum of Fine Arts is most pleased to present the first major American retrospective of this important artist's work in film.
Wunschkonzert
(1994)
The question of 'Fantastic motion' is whether films in the 1910s and 1920s should be viewed as merely the forerunners of patriarchal cinema, which some colleagues believe, or whether they offered - and still offer - alternatives to a female audience. The author makes a case for the latter possibility and searches for explanations for the enjoyable and liberating sensations they, as women, experienced while becoming acquainted with early film. Using a historical and contextual approach, Schlüpmann investigates genres including non-fiction, comedy and romantic drama from the early 1910s, and describes how the significance of notions such as the beauty of nature, the culture of humour and love could have been adopted into the perception of women filmgoers at the time.
Film review: The Matrix cult
(2003)
Much of the semiotic discussion around the deeper structures of "The Matrix" has tended to center around positive ethical and philosophical systems. Thus, numerous critics have pointed out the Christian subtext in the film with Neo as Christ and Morpheus as John the Baptist (James L. Ford: 8). The Garden of Eden story has been superimposed on "The Matrix" as well with the implication that just as Adam's and Eve's awakening to knowledge makes Christianity possible, so too, Neo's awakening will lead to the salvation of humanity by a Christ-like figure (cf. James S. Spiegel: 13). Others have picked out connections with Joseph Campbell's monomyth concept where the hero must depart from the familiar world, go into a netherworld and return morally transformed (A. Samuel Kimball: 176, 198). There is also the Platonic interpretation where the passage toward the light from the famous cave allegory is read into the awakening process of "The Matrix": "The theme of appearance versus reality is as old as Plato's Republic. And while perhaps no writer or artist has improved upon his cave allegory in presenting this theme, the Wachowski brothers' The Matrix might be as effective an attempt as any since Plato, in cinematic history anyway" (James S. Spiegel: 9). Buddhism and its notion that reality is illusion appears as an equally convincing model for reading "The Matrix" (James L. Ford: 10). Even Gnosticism has been used as an interesting semiotic framework for the film (Frances Flannery-Dailey and Rachel Wagner: 10-12).
When the concept of the auteur was coined in the 1950s and 1960s, it was an initiative to clarify the obscure matters of authorship in cinema. Because a film must necessarily be a collective work, understood as the result of a large number of creative contributions, it was often unclear who the decisive power behind a certain film was, who contributed the "distinctive quality". The control will usually belong to the director, the producer or the star (or all three in combination), but what singles out a given film could also come from the cinematographer, the scriptwriter, from the author of an adapted literary work, or from traditions in the studio or in the genre. Nothing can be taken for granted about a film's authorship, it can only be decided through a thorough analysis of each film's production process, an analysis that, in most cases, will be impossible to make. ...