Clearly, you’ve taken a completely different approach than writer Matt Whiteley did with the biopic Jobs in 2013. You didn’t for a second try to cram Steve Jobs’ entire life into a 122-page script. Rather you constructed your script as the most specific thesis paper imaginable. And though I longed for more flashbacks and chronological context (show –don’t tell, remember!), I have to commend you for succeeding admirably in your intention. Thank you for making an honest film about people, and not

This essay is a light-hearted, informal examination of the high concept, escapist films of the 80’s and their connection with Gen X/Y males. Reposted with permission from the author. The contemporary ‘Hollywood Blockbuster’…what comes to mind? Those two words are all it takes, right? They alone have the ability to release a lifetime of memories – memories that are destined to return because the power behind them is so intrinsically cherished. The images, the characters, the one-liners…these s

             Sound theory in cinema, offered by Michael Chion in his scholarly study, Film, A Sound Art, explores the “added value” that sound brings to image, a value that is not easily defined when synchronized with the visuals of a...

           Excerpts from two chapters, Identification, Mirror and The Passion for Perceiving, from film theorist Christian Metz’s book, The Imaginary Signifier, deal with what characterizes the process of imaginative, real and symbolic perception that makes cinema a unique signifier of human...

               In the article, Can Masculinity Be Terminated? Susan Jeffords opens by describing the predominant mode of masculine representation in Hollywood blockbusters of the 1980’s. Stating that in these films it was the “externalization” of the male body itself...

           The film musical, West Side Story, (1961) is a film adaptation of the 1957 Broadway musical of the same name, and the story itself is a modern adaptation of William Shakespeare’s Romeo and Juliet, a timeless love story that is...

             In the essay, “Identification, Voyeurism, and Projective Illusion”, Richard Allen proposes a relational structure of how spectators perceive and identify with Stanley Kubrick’s A Clockwork Orange (1971). Allen opens by stating that, “Our emotional response to film is fostered...

               Andrew Sarris begins his notes on auteur theory by presenting some of the relative views that prominent film theorists have made in the past. In the opening line, he states that there is no legitimate definition of auteur...

             The films of Nicholas Ray (1911-1979) were always personal. His films mirrored his life. He wrote, and he shot from the struggles, dilemmas and experiences that shaped his life. His visual style came from what he imagined, and his...

           The original movement of Italian neo-realist cinema started after the Second World War. It was a cinema concerned with finding itself within a broader context; films that focused on working class Italians within their society, facing harsh new challenges inevitably...

         The moment of truth reveals itself in Alfred Hitchcock’s masterpiece, Vertigo (1958) when John “Scottie” Ferguson (James Stewart) spots Carlotta Valdes’ necklace around Madeleine Elster/Judy Barton’s (Kim Novak) neck. This instance snaps the film back into reality, breaking Scottie’s obsessive attachment...

         One of the most critical sequences in Francois Truffaut’s, Les Quatre Cents Coups (The 400 Blows) (1959) occurs when Antoine (Jean-Pierre Leaud) and René (Patrick Auffay) decide to skip school for the day. The focus of the film revolves around...