September 17, 2014
keyframedaily:

Watch it.

keyframedaily:

Watch it.

September 14, 2014

(Source: bickle, via aronofskie)

September 14, 2014

(Source: andreii-tarkovsky)

September 14, 2014

andreii-tarkovsky:

Ingmar Bergman and His First Cinematograph

When Bergman was 8 years old he received a teddy bear for christmas while his older brother received a cinematograph, disappointed at his present and full aware his brother didn’t care at all about the cinematograph, he offered him 150 tiny soldiers in exchange, both were completely satisfied after the deal. 

September 14, 2014
awritersruminations:

Claire’s Knee (1970), directed by Eric Rohmer

awritersruminations:

Claire’s Knee (1970), directed by Eric Rohmer

(via ethoslogos-pathos)

September 14, 2014
"Crispin. Are you trying to tell me that you’re writing a fantasy novel?"
“Me? Never! Or it’s only one-third fantasy. Half, at most.”
“A book can’t be a half fantasy any more than a woman can be half pregnant."

The Bone Clocks, David Mitchell.

How much money do you want to bet that David Mitchell had that exact same conversation with his publisher about this very book?

(via the-library-and-step-on-it)

September 14, 2014
"A woman that caresses you, jokes with you, is sweet with you and then never speaks to you again. What are you talking about, the Third War? The stranger loves you and then recognizes the slaughterhouse situation. She kisses you and then tells you that life consists precisely of moving forward, absorbing sustenance and searching for more."

— Roberto Bolaño, from Tales of The Autumn in Gerona (via violentwavesofemotion)

(Source: autretopie, via fzkafka)

September 14, 2014
abridurif:

Dziga Vertov, Man with a Movie Camera, 1929

abridurif:

Dziga Vertov, Man with a Movie Camera, 1929

(via jackcardiffs)

September 14, 2014

kino-obscura:

EYES IN FILM: 2014 EDITION

"I am eye. I am a mechanical eye. I, a machine, am showing you a world, the likes of which only I can see." — Dziga Vertov


Left to right, top to bottom:

Man With a Movie Camera
 (Dziga Vertov, 1929)
Un Chien Andalou (Luis Buñuel, 1929)
Meshes of the Afternoon (Maya Deren/Alexander Hammid, 1943)
The Lost Weekend (Billy Wilder, 1945)
Spellbound (Alfred Hitchcock, 1945)
The Spiral Staircase (Robert Siodmak, 1945)
Sunset Boulevard (Billy Wilder, 1950)
Vertigo (Alfred Hitchcock, 1958)
Psycho (Alfred Hitchcock, 1960)
Peeping Tom
 (Michael Powell, 1960)
Goldfinger (Guy Hamilton, 1964)
Woman on the Dunes
 (Hiroshi Teshigahara, 1964)
Alphaville
 (Jean-Luc Godard, 1965)
Repulsion (Roman Polanski, 1965)
The Russians are Coming, The Russians are Coming (Norman Jewison, 1966)
2001: A Space Odyssey (Stanley Kubrick, 1968)
McCabe & Mrs. Miller (Robert Altman, 1971)
The Texas Chainsaw Massacre (Tobe Hooper, 1974)
Deep Red
 (Dario Argento, 1977)
Rubens
 (Roland Verhavert, 1977)
The Spy Who Loved Me (Lewis Gilbert, 1977)
All That Jazz (Bob Fosse, 1979)
Blade Runner
 (Ridley Scott, 1982)
Goodfellas
 (Martin Scorsese, 1990)
Bram Stoker’s Dracula (Francis Ford Coppola, 1992)
Hard Boiled (John Woo, 1992)
Cube (Vincenzo Natali, 1997)
Titanic
 (James Cameron, 1997)
Fear and Loathing in Las Vegas
 (Terry Gilliam, 1998)
Requiem for a Dream
 (Darren Aronofsky, 2000)
Donnie Darko (Richard Kelly, 2001)
Mulholland Drive
 (David Lynch, 2001)
Vanilla Sky
 (Cameron Crowe, 2001)
Gangs of New York
 (Martin Scorsese, 2002)
The Lord of the Rings: The Two Towers
 (Peter Jackson, 2002)
The Magdalene Sisters (Peter Mullan, 2002)
Minority Report (Steven Spielberg, 2002)
The Fountain
 (Darren Aronofsky, 2006)
The Diving Bell and the Butterfly
 (Julian Schnabel, 2007)
Hunger (Steve McQueen, 2008)
Splice
 (Vincenzo Natali, 2009)
Let Me In (Matt Reeves, 2010)
Hugo (Martin Scorsese, 2011)
Looper
 (Rian Johnson, 2012)
Prometheus (Ridley Scott, 2012)

(via jackcardiffs)

September 14, 2014

chibstelford:

(Source: rbertdowneyjr, via cinematicfantastic)

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