James Harvey-Davitt
As contributor
As commenter
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Speed, montage, critique
A really thought provoking question, Tanya! My briefly-considered feeling is, no, not in the way Kaufman does here. It does in many ways relate to an authorial style. For example, a notably similar, weird editing pattern recurs in Eternal Sunshine, but Sy ... -
continuity editing
Thank you Tiago. You raise an essential point. That's precisely how I see editing functioning throughout the film. Antagonising from within that classical mode (rather than stepping outside of it more radically, like some others working adjacent to H ... -
Buffering?
A really compelling point, Caetlin: the spectator's self-denial of sensation. Do you think the effects and implications of playback morphed when online viewing became so prevalent? Viewing this clip online, I would otherwise assume that what is clear ... -
Familiarity and expectation
Thanks for kicking things off Tina. I just screened this to some students and was surprised to find that they all knew of this and had known of it for a long time. I didn't realise quite how prominent it is/was! This prior engagement and expectation ... -
THE PARADOX OF HOLLYWOOD SELF-CONSCIOUSNESS
I echo the above gratitude. A great gateway to this week's themes. You raise a really interesting debate on the way Hollywood self-reflexivity is caught between questioning and reifying its 'greatness'. This is certainly a persistent theme ... -
what cinema is dying?
Thank you for raising this very interesting film! I wonder to what extent classical Hollywood is being fetishised here. Why does MORNING PATROL focus primarily on such a distinct, canonised body of film to speak for cinema proper? ... -
Between life and cinema
Thanks so much for this Daniel. I also have a strong investment in this remarkable work. For me, one of the really fascinating things about THIS IS NOT A FILM is the way Panahi insists so vehemently on focusing on cinema in spite of and instead of the urg ... -
the shortfalls of cognitivism
Thank you for reframing our themes, leading us to question the activities of spectators after viewing. In both, it seems, context (or lack thereof) determines our (varying; even skewed) perceptions of meaning. For me, this offers a severe reappraisal of c ... -
REPLY TO TANYA
Thanks so much for your even richer response, Tanya! First, I have to agree about the centrality of gender here. We might note how different the formal and thematic operations are in Coppola's LOST IN TRANSLATION or SOMEWHERE: both films about male a ... -
REPLY TO STACI
Thanks Staci. I agree, we can't and shouldn't tie the origins of self-reflexive performance to the contemporary moment (although I think it would be interesting to hear ideas on what the issues framing that contemporaneity would in fact be- is t ...