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Gambling movies dossier pdf

Postby Vulrajas В» 19.02.2020

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Attention, ladies! Reseeing the magnificent Silver Lode by Dwan, I thought that this B-movie gem functions like an hourglass, minutely regulating the flux of "what comes in" and "what goes out. An unforgettable moment, "classical" if you will, when the cinema of series and genres, on the cusp of the 60s, accelerated and tended toward the diagrammatic. The moment of Dwan. The moment of John Payne. If Silver Lode sometimes takes on the qualities of a frieze, its friezes are perpetually menaced by a third dimension.

The story begins when the frontality of four strange horsemen entering town on the 4th of July collides with the frontality of a group of local kids on holiday. A struggle for power, for the will of a town, Silver Lode is a film of collisions.

The CFA traveled to Washington to lend its support as the eleven "unfriendly witness'" began their testimony. The committee disintegrated after the defiant testimonies of the Hollywood Ten. If Silver Lode seems to recall these events at certain points, it's probably no accident. After Silver Lode she had no further motion picture credits.

When in the Course of human events, it becomes necessary for one people to dissolve the political bands which have connected them with one another, and to assume among the powers of the earth, to separate When in the course of When in the course of human events When in the course of the humanist When in the course of human events, it becomes necessary Then we wouldn't have to do anything for him. With its large open space the stable serves this purpose. These shots of Dan and Rose spell out the ABCs of the frieze-language, as Rules of the Game had of course already done almost 20 years earlier.

In this shot from Renoir's film we see how the rules begin to be complicated by depth: a diagonal and a space opening up behind, with looks within the shot that direct ours without any need for montage that brings in outside looks: without suture. Within the solidarity of the three shots from the first stable scene a gap opens showing the background.

It is plugged momentarily by Rose's father, the richest man in town, who still sides with his accused son-in-law. A look off reintroduces the enemy camp, within which the law the Judge and the Sheriff are already caught, and undermined by the looks of townspeople who are already wavering about the accusation brought by McCarty, the false marshal.

Behind the trio, who are implicitly supported by the family's money, the father begins to show concern at this confrontation taking place in a kind of no man's land: a public space the stable that is nonetheless not an official space. The only official space is the Judge's office. Serge Daney, when he wrote "Rio Lobo: Viellesse du Meme" in , succeeded in bringing the tradition represented by Hawks and more radically by Dwan under the law of "suture" by finding "writing," "spacing," "the off-space" hidden in Hawks' cinema, which in the 60s had morphed into groupings and choreographies of sculptural masses in human form like so many Straub-Huillet films to come.

A recurrent type of plan-sequence in Silver Lode does the opposite when a hole suddenly opens up in the middle or on the left side of the screen, and someone fills it. It's as if Dwan were amusing himself by displaying within his own cinema of spatial integrity the law of the film series theorized as suture: "A" stops talking and is replaced by a void of sorts -- a hole; "B" fills the hole "sutures" it and starts talking in turn, like a short-reverse shot mediated by the imaginary void Jean-Pierre Oudart calls the Absent One.

A frieze fragment from Acropolis. Is this Dan's horse, the nominal pretext for everyone gathering at the stable? As in Dalle nube alla restistanza Huillet-Straub, , it's time to retire to the bar. This is the film's second no-man's land, its second center. The divisions in Dan's side appeared in the stable; here the same thing happens to McCarty's side.

Blocking Dan's attempt to bribe one of his men, McCarty steps into the breach, but Dan opens another gap for Johnson whom Dolly has spotted as the weak link to escape. But the window of the telegraph office is a picture window, an internal double of the film image at least in this film that also figures the telegraph's role of connecting the town to the greater world of which it is a double, where the synecdoche opens onto infinity.

Dolly's room is a stage set, with characters entering from stage left via the window and stage right via the door, as in a Feydaux farce. When Dolly ushers McCarty out at the end of the scene, we see a tableau on the wall of the corridor — one of the shallow boxes in picture frames containing cut-outs that are all over the hotel. This one contains a cutout of a dancer in black and white, probably Colombine from the commedia del'arte.

Silver Lode was designed and filmed to be projected in 3-D, but coming at the end of the first wave of 3-D films, it may never have been shown in that format — like Dial M for Murder, which was released "flat" and finally shown in 3-D in the early 80s, when the procedure was making a comeback.

Let's hope that during the current 3-D boom this collaboration between the production designer of Citizen Kane and the last great poet of space in cinema will be unearthed and finally shown. Principally this: he always made the same cinema, as if the rest of cinema had only evolved technically and in its formulae… He was a great storyteller….

He was also a great poet of space: Whether in his first silents or his later color films, one finds the same constant exaltation of space quite close to that which animated Keaton …. This tradition of the most exact reproduction of space is essentially American more than Hollywoodian and is linked to the cinema of slapstick Mack Sennett and the cinema of melodrama and cops-and-robbers: it is constant in Griffith, and was extended to comedies by DeMille and Lubitsch, But I believe it is Walsh and Dwan who offer the most beautiful examples.

Dwan brought this art to perfection. In his late films the feeling of harmony arises from the instinctive application of the secret geometrical rules he had developed in the silent period rules that are apparent in his 30s parodies with the Ritz Brothers and also in The Iron Mask.

And he knew, thirty years before Kubrick in , how to make marvelous use of the upper edge of the frame Frontier Marshal. Comme Jacques Tourneur, Dwan avait un secret de fabrication qui est au coeur du cinema et qui s'est perdu. Pas parce que le cinema aujourd'hui n'en est pas digne, mais parce qu'un secret de fabrication, c'est intransmissible. Frieze, Mister If Silver Lode sometimes takes on the qualities of a frieze, its friezes are perpetually menaced by a third dimension.

The Void, Dan's Horse Serge Daney, when he wrote "Rio Lobo: Viellesse du Meme" in , succeeded in bringing the tradition represented by Hawks and more radically by Dwan under the law of "suture" by finding "writing," "spacing," "the off-space" hidden in Hawks' cinema, which in the 60s had morphed into groupings and choreographies of sculptural masses in human form like so many Straub-Huillet films to come.

Invitation to the Dance Dolly's room is a stage set, with characters entering from stage left via the window and stage right via the door, as in a Feydaux farce. Dwan: Hardly ever thought about tomorrow. Published on Apr 4, Go explore.

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Re: gambling movies dossier pdf

Postby Gazahn В» 19.02.2020

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Postby Vuzil В» 19.02.2020

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Postby Tolkree В» 19.02.2020

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Postby Mem В» 19.02.2020

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Postby Darr В» 19.02.2020

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Postby Yosida В» 19.02.2020

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Postby Shakagami В» 19.02.2020

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Postby Sajinn В» 19.02.2020

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Postby Meztizilkree В» 19.02.2020

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Postby Mebar В» 19.02.2020

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Postby Munos В» 19.02.2020

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Postby Kigajin В» 19.02.2020

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Postby Sashakar В» 19.02.2020

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Postby Shakashicage В» 19.02.2020

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Postby Yozshutaur В» 19.02.2020

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Postby Akinosho В» 19.02.2020

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Postby Shakasar В» 19.02.2020

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Postby Akinokus В» 19.02.2020

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Postby Faunos В» 19.02.2020

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