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blindowl81 liked a video
(4 weeks ago)
A presentation of what narrative is and the different types.
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blindowl81 liked a video
(1 month ago)
Lego Man is now on Facebook!
More videos and pictures soon to come!
http://www.facebook.com/legomaninspace
After endless hours of hard work, we manag...
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Lego Man is now on Facebook!
More videos and pictures soon to come!
http://www.facebook.com/legomaninspace
After endless hours of hard work, we managed to capture stunning views of our atmosphere and put a 'Lego' man into near space!
Full video of the building process, launch and retrieval are in the works!
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blindowl81 favorited a video
(2 months ago)
Subscribe: http://bit.ly/KamalTheaterTv for More Entertainment
Gangaajal Full Movie, English Subtitle, Hindi Movie, Watch Online, KamalTv, KamalThe...
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Subscribe: http://bit.ly/KamalTheaterTv for More Entertainment
Gangaajal Full Movie, English Subtitle, Hindi Movie, Watch Online, KamalTv, KamalTheaterTv, KamalTheater, Ajay Devgan,
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blindowl81 favorited a video
(2 months ago)
Film Excerpts from 'Uski Roti' (A days Bread)
I couldn't find a better resolution of this film. Felt sad. Hope people have taken initiative to bring...
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Film Excerpts from 'Uski Roti' (A days Bread)
I couldn't find a better resolution of this film. Felt sad. Hope people have taken initiative to bring it in its original form.
"Made when he was 25, Mani Kaul's first feature Uski Roti(1969) is what one might call a poetic film about waiting. Kaul takes a simple premise for the film -- a woman who goes to the highway everyday to give lunch to her husband, whom she, oddly enough, addresses using his full name -- and strips it down to its skeleton, diverting our attention from what is represented to how it is represented. (Kaul likens this process to a painter emphasizing his brush strokes).
Bresson's influence is palpable in many aspects of filmmaking here: the delayed editing of shots that parenthesizes action, the de-dramatization of scenario, the atonal, unaccented line delivery by actors without forced expressions, the emphasis on objects rather than concepts, the numerous shots of hands and faces that have a grace of their own and, of course, the central, suffering woman. Additionally, Kaul's own training in short documentaries seems to have made its mark here, given how keen the film is on documenting purely physical activities such kneading dough, which becomes the central gesture. Utilizing plethora of Ghatak-influenced wide angle shots, in high-contrast monochrome (if only the film had used European film stock, Pedro Costa would applaud), a hyperreal sound mix and a highly idiosyncratic grammar (horizontal asymmetry, characters facing away from camera, no reaction shots), Kaul makes an arresting if not totally underivative debut."- (theseventhart.info)
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blindowl81 liked a video
(2 months ago)
Film Excerpts from 'Uski Roti' (A days Bread)
I couldn't find a better resolution of this film. Felt sad. Hope people have taken initiative to bring...
more
Film Excerpts from 'Uski Roti' (A days Bread)
I couldn't find a better resolution of this film. Felt sad. Hope people have taken initiative to bring it in its original form.
"Made when he was 25, Mani Kaul's first feature Uski Roti(1969) is what one might call a poetic film about waiting. Kaul takes a simple premise for the film -- a woman who goes to the highway everyday to give lunch to her husband, whom she, oddly enough, addresses using his full name -- and strips it down to its skeleton, diverting our attention from what is represented to how it is represented. (Kaul likens this process to a painter emphasizing his brush strokes).
Bresson's influence is palpable in many aspects of filmmaking here: the delayed editing of shots that parenthesizes action, the de-dramatization of scenario, the atonal, unaccented line delivery by actors without forced expressions, the emphasis on objects rather than concepts, the numerous shots of hands and faces that have a grace of their own and, of course, the central, suffering woman. Additionally, Kaul's own training in short documentaries seems to have made its mark here, given how keen the film is on documenting purely physical activities such kneading dough, which becomes the central gesture. Utilizing plethora of Ghatak-influenced wide angle shots, in high-contrast monochrome (if only the film had used European film stock, Pedro Costa would applaud), a hyperreal sound mix and a highly idiosyncratic grammar (horizontal asymmetry, characters facing away from camera, no reaction shots), Kaul makes an arresting if not totally underivative debut."- (theseventhart.info)
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