Spiegelteleskop Catadioptric

Lynch Dior (1) Dior

A spot made recently by David Lynch for the House of Dior. It is not the first time the director ventures into the realization of this type of advertising. Previously he had done for Calvin Klein and Yves Saint Laurent (in both cases for a perfume). In this case, the spot was done under the form of short (lasting approximately 16 min.) With the presence of France's Marion Cotillard. Lynch assumed the role of man orchestra here. script, editing, part of the picture and music. Lynch's style is very clear, very in tone, especially of his two latest creations. Lady Blue Shanghai is the title and the cover of this fantasy dream is a handbag. Down here in two parts.

(Dsculpen but since I do not know how to design this, I made two separate post, here is the first part and in the previous post - the one below, is the second).

Prom Dresses Under 50.00

Lynch (2)

Using Motorcycle Engine In Dune Buggy

"Geniuses"

dreams of a genius not necessarily have to be a genius. Fewer still are the dreams of those who consider themselves as such-a genius-not, objectively, be, and does -dream-or presumed it to be consistent with the impressions he has sown in those enrolled in their worship . Cinematically geniuses who dream and make your stuff smaller works have been many, megalomaniacal geniuses are created or start to believe it has been many more. I sleep here, we clarify, we use it metaphorically to talk about movies, calling that figure a little kneaded so that the film is objectified and sleep a bit to get in tune with that movie runaway ambition of genius conceived by someone who begins to believe, yes, a genius ... with big dreams. In other words, someone who begins to show alarming signs of delusions of grandeur: The origin (EU, 2010), Christopher Nolan.

Following the logic, Nolan has dreamed that dream of certain people for their dreams, so help me the trestristestriguismo - multiply in a progression most abysmal and that its proposal maintains, or seeks to maintain the original formal finish , bold, half way between cinematic art and videoclipero neobarroquismo shields; appearance, because we talked film appearances so as not to disappoint the spectators started (cinephilia "exquisite") and seduce viewers formed under visual paradigms (the Jonze-generation-plus Cunningham, Gondry who leave come, including stylish fantasies of Matthew Barney, and video games). Of course, Nolan's genius for his film, his dream is therefore not, or should not be - for anything because she has raised a dream world (is reminiscent dream world but virtual Matrix), Freudian terminology and symbols as a basic introduction to psychoanalysis (in talks that line self-parody by a solemnity unsustainable), impostadísima tragic dimension to the (anti) hero unit (the one who believes DiCaprio still travel on the island Shutter-EU, 2010 - Martin Scorsese), and exotic underworld of film noir classic. But this, to be honest, seems to be an alibi, a great alibi of an arrogant filmmaker who refuses to see his film as a basic argument, in spite of its pretentious premise, in line routine and overwhelming any action movie, with persecutions and infinite number of shooting that would pale in comparison the latest Rambo (Stallone, USA, 2008) if not for the absence of hemoglobin.

We will not deny that the film has its moments, especially visually. And we will not deny nor to Nolan as a filmmaker more than estimable (mainly Memento / 2000 The Prestige / 2006 and The Dark Knight / 2008). But at the end to see The origin not remember avoid New York on stage (2008), similar in more ways than one, of that other writer / director, Charlie Kaufman, that it itself has always played a genius with great ideas but only lo crean él mismo y sus apologizadores (digo, no extraña nada que para su debut tras la cámara haya escogido como título la palabra-figura-concepto ¡ Synecdoche !). En ambos casos la impresión/idea pretendidamente “inoculada” es la misma: “somos genios y soñamos a lo grande”. Uhm!

A manera de epílogo: Quizá pecamos de reduccionistas, pero esto de intervenir los sueños de los personajes en una ficción para transformar, aquí sí, radicalmente su consciencia ya lo había hecho en otro registro, más modestamente y sin tanta sobreescritura y giro abismal Wes Craven Freddy Krueger with ... incidentally.

(Joseph Abril)

What Is A Light Lien Release Letter?

About The road

is quite common when it comes to film adaptations are often done without neglecting the most obvious reference: the literary text. Is understandable if we consider that the novel or story has been the starting point for this or that project is unnecessary, from a personal standpoint, always look askance at the written material as a stick to measure qualitatively the result final screen.

Unnecessary, yes. For search for possible virtues make a great literary work on a film is demanding, a posteriori, the director that mimics the writer and is, therefore, try to find in the movie series of resources that are foreign because they are exclusively literature in both language. The film, therefore, has, while also language, its own resources, as the wit, sensitivity, the ability of the filmmaker to use, make the existence of great films regardless of whether they have taken as a starting point the literary world or not.

Perhaps wary too, but I do not entirely trust those who talk about the film, product adaptation, always making reference to the novel or story. And trust me, for always, or almost, I leave the impression of wanting to discuss the text on the pretext of the movie, as if it were required to serve the window. Typical: the movie is bad because the novel is very good. Bah! The movie is bad because bad is your manager or is a masterpiece because he has made known to use their resources. Owes nothing to the literary work, except the premise-premise and subject to appropriation process - which allows for the story presented in images. Point.

On one occasion a colleague quite rightly said that a smart filmmaker ignores - or at least should, in the shadow of the original author to bring the material to their own land, their own universe. Thus, a Thomas Mann became a Visconti (Death in Venice , Italy, 1971) although in this case I was with Death in Venice the first and not the second, because the land of Visconti, ie his style, sometimes I was a little excessive given to aestheticism and irritating. My problem was with Visconti as a writer, then, and not so much the greater or lesser fidelity to the novel itself Mann.

But why all the cantinfleo, you ask. What happens is that I thought writing about The road (EU, 2009), the film that made John Hillcoat from Cormac McCarthy's novel, and I have found such thoughts that appeal to the superiority of the novel as to discredit the film. In my case, both the novel and the film I found products full of successes, successes that in each case are due to the enormous capacity of both writers (literary and cinematic) to use the resources that each language provides. Possibly, in the case of Hillcoat should be noted the certain proclivity toward sobremusicalización (obviously, signed by Nick Cave that enamored), but otherwise there is otherwise in place.

thought delve into further detail about the movie, but you are not to know ... within hours I'm going on vacation to San Francisco, California, jejeje. So I do not have much time, then we are better - or we read.

(Joseph Abril)