The mania for expansion now seems universal, much as the taste for succinctness in films flourished when double bills were more common. This phenomenon is by no means exclusively American.
And it’s the collectors and those servicing them that are rewriting much of our film history. But if your criterion is that of a collector and a footage fetishist, the rules change. “For my style, for my vision of film,” Welles once declared to André Bazin, “editing is not an aspect, it is the aspect.” By this criterion, no edition of any film that Welles never completed could meaningfully be called complete.
Arkadin epitomizes the degree to which distortions become inevitable. Yet the fact that this box set is called The Complete Mr. Years later, when I worked on Criterion’s ambitious 2006 box set devoted to many of these multiple versions, it finally became permissible to express this preference. Arkadin, on laserdisc, they wouldn’t allow me to call it the second-best version (in terms of its conformity to Welles’ editing). Many years ago, when Voyager got me to write liner notes for Confidential Report, one of the multiple versions of Mr. Yet once we start moving closer to mainstream film culture, the improvement in our understanding becomes a little less evident.ĭescription constrained by marketing is nothing new to me. Or compare Tag Gallagher’s analysis of Max Ophüls’ Earrings of Madame de … for the same label with his online article about Ophüls for the Australian Web site Senses of Cinema, which focuses on the same scene from the same film. Compare, for instance, the audiovisual essays of Joan Neuberger and Yuri Tsivian on the Criterion Collection DVD of Sergei Eisenstein’s Ivan the Terrible with these writers’ recent monographs on the same subject. If we do want to bone up on film history, some of our finest scholars are busy turning out DVD extras, and a few of them are even better at this kind of work than they are in their writing, which offers fewer opportunities of illustrating their points. Of course, those who argue that cinema is dying could also note that most viewers have been happy to stay in their designated regions and narrower range of consumer choices and to remain blissfully unaware of DVD regional codes, much less simple ways of circumventing them. We can, in fact, live almost anywhere, at least if we own a multiregional DVD player-and nowadays one can acquire one of these for less than $50. The Grammy winner’s seventh studio album, Lover, features 18 songs, including a collaboration with Brendon Urie and the Dixie Chicks.One reason why we may be entering a renaissance in film viewing is that we no longer have to go to Paris or New York in order to learn anything comprehensive about the history of the medium as an art form. I get drunk, but it’s not enough, cause the morning comes and you’re not my baby…” ?–Ī post shared by Jennifer Kaytin Robinson on at 10:54pm PDT “Cause saying goodbye is death by a thousand cuts, flashbacks waking me up.
#DEATH BY A THOUSAND CUTS MOVIE SCENE FULL#
And now, in the most surreal, what the fuck is even happening, full circle situation I find myself with a new song that will help me through heartbreak.
I found the most comfort in Clean, a song about rebirth after love lost. In the fall of 2014 when I was a certifiable basked case wandering around LA in pajamas heartbroken over the boy I’d left behind in New York, 1989 was there like a best friend with a bottle of tequila and a bear hug. Ebbing and flowing through life a musical North Star in her catalog. I’ve been listening to Taylor’s music since her very first album. There were rumors swirling around that Taylor had a song on ‘Lover’ called DEATH BY A THOUSAND CUTS (written with Jack Antonoff) inspired by my film. A couple days ago I was searching ‘Someone Great’ on twitter and found something curious.
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