Notes on Short Film

Lengthy diatribe on brief cinematic experience.

Posts Tagged ‘cannes film festival

2012 was a big year for this blog…

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… even though I haven’t added any content to it since May of 2011. This blog was a semester-long project for a class I never wanted to take, taught by an instructor who didn’t respect his students’ time or work ethic. Though I asked for guidelines on this project many times during the course of the semester, I never received any information on what we would be graded on. Still, my classmates and myself created pretty exceptional blogs with very little guidance.

I got a B in the class. Posted before grades were due, never changed once the end of the semester rolled around, and then that professor went on a year-long sabbatical. Hope you enjoyed your year off, sir.

Because in that year you were taking a teaching breather, this B-grade blog saw over 17,000 hits from all over the world, and I haven’t added a lick of new content to it in a year and a half.

I still watch short films (and feature-length ones, mostly) but I rarely feel the need to write about them. I have another blog that I DO update, and am hoping to contribute more content to in this brand new year, and I hope you lovely blog visitors will consider giving that a read.

Now that I’m graduated, fully employed, and still a cinema lover, the sting of this terrible class has faded, and it’s just nice to see my research and effort to make an informative, critical blog didn’t go unnoticed on the interwebs. For instance, a nice linkback from a decent blog:

So forgive the humble brag, and here’s to a cinema-filled, collectively intelligent 2013. 🙂

Here’s an excerpt:

4,329 films were submitted to the 2012 Cannes Film Festival. This blog had 17,000 views in 2012. If each view were a film, this blog would power 4 Film Festivals

Click here to see the complete report.

Written by Alisa Hathaway

January 2, 2013 at 11:47 am

To Each His Own Cinema (2007)

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This anthology was commissioned in celebration of the 60th anniversary of Cannes Film Festival, and the credits read like a snooty film class syllabus. While some reviews state that these auteurs manipulated this framework to make a film about whatever they damned well pleased, many of these shorts have something unique to say about the ritual of going to the cinema, the devotion which we pledge to the chapel of film, the way the art of film mirrors our lives and how we shape our lives to mirror it, and finally how, as with every other artistic endeavor, technology and modernity are killing everything we love. says this of the collection:

Especially through the first part of the grouping, the overwhelmingly dominant image is of old movie theaters fallen into states of disrepair, disintegration and disuse. In the films of Takeshi Kitano, Theo Angelopoulos, Andrei Konchalovsky, Hou Hsiao-Hsien and Tsai Ming-Liang, just for starters, one beholds the spectacle of a world in which cinemas, at least as a home for shared experienced in a privileged domain, no longer seems valid or valued. A mourning for the passing of the classical Euro-style art cinema of the ’60s — of the sort very much represented by films commonly shown in Cannes — filters strongly through the proceedings, no doubt in great measure because they were made by men who belong to that tradition or grew up on it (Jane Campion, still the only woman to have won the Palme d’Or, is the sole femme in the group here).

My personal favorites were Alejandro González Iñárritu’s Anna, about a blind woman’s visceral reaction to Jean-Luc Godard’s Contempt, and  Zhang Yimou’s Movie Night, in which a young boy is so excited during the preparations for the town’s outdoor movie night that by the time the film is actually shown, he has fallen sound asleep. This anthology is definitely valuable, especially in terms of short film study, though I wish we had focused on each short’s context (who directed it, where they are from, and what else they’ve directed) in order to understand fully the range of celebrated talents featured on this DVD.

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