9 Reasons Why “Shame” is a Modern Masterpiece

By Hrvoje Galić

Michael-Fassbender-as-Brandon-in-Shame

Steve McQueen’s “Shame” is a film one can rarely encounter. The director is also a visual artist, which obviously has an immense impact on his visual and narrative style. “Shame” is his second film, following his debut film “Hunger” which doesn’t shy away from showing the brutality and violence inflicted upon an individual, in a way that is straightforward but impartial. “Shame”, on the other hand, presents us a narrative of destructiveness the individual suffers due to his own acts and that very self-destructiveness is rooted in the condition the main character is in.

The film deals with sexual addiction intertwining this subject with its effects on family bonds, the character’s relationship to his environment, and himself. It poses questions about the nature of relationships in contemporary times in general, and even questions the time we live in in general terms. It presents all of this without shame, completely strips the individual to his bare essence, twists it into something almost unrecognizable yet oddly familiar.

McQueen shows us the individual stripped down to his most basic needs and instincts, helpless but combative. He is aggressive toward his environment, but nervous about himself and almost terrified when confronted with a need to connect with others on any level.

The brilliance of “Shame” is that it portrays all of that sincerely and without masks and false pretenses. McQueen doesn’t try to “sell” us any viewpoints; he just presents the individual as he is, and the final “judgment” rests with the viewer. Yet one may be compelled not to make it, since the complexity of the character and his sufferings is multidimensional and tends to “evade” facile conclusions.

1. Michael Fassbender’s unvarnished performance

After Marlon Brando was done with filming “Last Tango In Paris”, → continue…

From:: Taste Of Cinema

Two Defining Dan Harmon Traits That Every Screenwriter Should Take to Heart

By Hawkins DuBois

Dan Harmon’s process bears many lessons for aspiring screenwriters.

With a track record spanning dozens of TV shows and movies, Dan Harmon has established a unique and successful voice as someone for young writers to learn from and emulate. Best known for his work creating hit comedies like Community and Rick and Morty, Harmon has become a cultural force in the comedy community, able to understand and manipulate story structure while subverting expectations and building characters and comedic moments that speak to broad audiences. Harmon has been highly open about his process and methods, doing extensive Reddit AMA’s, and detailing the Story Circle he uses as the basis for many of his scripts. But beyond Harmon’s methodologies, the man has a great deal to offer in the way that he treats his writing process as well.

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From:: No Film School

Cutters Studios Celebrates Client Filmmakers Selected For The 2017 Chicago International Film Festival

By DWAgency

CHICAGO

The leaders of international creative company Cutters Studios are proud to detail their contributions to several official selections of the 53rd Chicago International Film Festival, set to run Oct. 12-26. These films include director Scott Smith’s feature comedy “Chasing the Blues,” director…

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From:: Shoot OnLine

Critic’s Notebook NYFF: Call Me By Your Name, The Square, Western, Wonderstruck, Joan Didion: The Center Will Not Hold

By Soheil Rezayazdi

For film writers who, like myself, remain chained to New York, NYFF marks the time of year when the much-hyped (or -hated) titles from the festival circuit finally pay us a visit. NYFF represents the last stop for many of the reliable sampler of films from Sundance, Berlin, Cannes, and elsewhere before they enter theaters and launch their awards season runs. At last, we get to see the films the more important writers have already grown tired of debating on Twitter. From Sundance this year comes Luca Guadagnino’s Call Me By Your Name, a coming-of-age queer romance set in 1980s Italy. A […] → continue…

From:: Filmmaker Magazine

Inequality and Systemic Racism in St. Louis: Landon Von Soest and Jeremy Levine on For Akheem

By Erik Luers

The St. Louis-set For Ahkeem’s central character, Daje Shelton, is on a path to avoid a life of poverty and disappointment. Having been suspended from her local high school for a number of petty offenses, Daje’s opportunities are narrowing by the season. Enlisting in a school for troubled youth as a last resort, her future is up in the air. While the documentary is centered around Daja, African-American teenage men are always present. Daja speaks of her many male friends who have been lost to gun violence, and her boyfriend Antonio (and their eventual son, the title character Ahkeem) will have […] → continue…

From:: Filmmaker Magazine

The 5DayDeal Photography Bundle for 2017 Sale is Now On! With Exclusive Content & Prizes for Canon Rumors Readers

By Canon Rumors CANON RUMORS EXCLUSIVE BONUS CONTENT AND PRIZES If you order the 5DayDeal Photography Bundle 2017 via one of our links, you are automatically entered to win various prizes, as well as receiving some additional bonus content by our friend Glenn Bartley Nature Photography. WHAT YOU’LL GET EXCLUSIVELY FOR CANON RUMORS READERS (via email within 24 hours … → continue…

From:: Canon Rumors

Color, Crews and Shooting Digitally: Ed Lachman and Vittorio Storaro at NYFF 2017

By Jamie Stuart

One of the highlights of the 55th New York Film Festival was the Master Class with Vittorio Storaro and Ed Lachman. Hosted by Kent Jones, the 90-minute presentation covered a wide range of subjects and also included key clips from the work of the two great cinematographers. Storaro and Lachman have been friends for over 40 years. Lachman claims that he was Storaro’s first American fan, after seeing both The Spider’s Stratagem and The Conformist at the 1970 NYFF. He subsequently worked with Storaro on Luna, when the Italian DP began shooting American movies but had not yet secured a […] → continue…

From:: Filmmaker Magazine

Which Horror Villain Would You Fight?

By Film School Rejects Let’s say you had to face off against one of horrors famous baddies. Would you rather wake up in one of Jigsaw’s convoluted traps? Fall asleep to find Freddy’s ugly mug staring you down? Unwrap a Christmas gift only to find Annabelle in the box?

In other words, which horror villain would be the easiest to survive? Or the most fun to go up against?

Scott and Geoff go over your perspectives about defining the horror genre and pick which villain they’d fight [0:00 – 31:45], and conduct a little commerce [31:45 – 35:45].

They also answer your screenwriting questions about why it’s so hard to finish a screenplay [35:45 – 40:20] and about the viability of trading a blossoming career in the Austin creative scene for a spot at the bottom of a big food chain in Atlanta [40:20 – 52:00]. → continue…

From:: Sound Cloud

Digital Cinematography Smackdown: Vittorio Storaro and Ed Lachman Debate, With Love

By Chris O’Falt The legendary cameramen behind “Wonder Struck” and “Wonder Wheel” shared the stage for a New York Film Festival master class. → continue…

From:: Indie WIRE Filmmaker Toolkit

Sony’s New Projector Turns Anything into a Touch Screen

By Jon Fusco

The future is now.

Sony first unveiled its prototype for the Xperia Touch Projector back in February at the Mobile World Conference, and even then the concept was groundbreaking. Essentially, the Xperia Touch is a projector that you hook up to your Android phone, but unlike any other projector before, you can actually then use any surface the image is projected on as if it is a touchscreen.

Equipped with Android Nougat, the Xperia Touch can do just about anything an Android tablet can do. Whatever apps, videos or games you’d use on your phone can now be used on virtually any surface within your reach. And while Sony seems to mainly be marketing the device as a “family hub”, or a tool for meetings, the implications for what this technology could bring further down the line are vast.

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From:: No Film School

Casio launches intense-looking GZE-1 action cam that’s waterproof to 50 meters

Casio just announced an action camera that it claims is drop-, water- and freeze-proof, and comes with a 13mm f/2.8 equivalent lens. It’s called the GZE-1, and it’s the first of a new line of Gz EYE models that are aimed at extreme sports enthusiasts.

The camera is said to use G-Shock technology borrowed from the Casio’s sports watch brand, and can be controlled either by a Casio Pro Trek watch, a smart phone or the dedicated (and optional) remote controllers, one of which has a LCD screen that allows users to see the action live. The camera itself doesn’t have a viewing screen.

CD controller “GEC-10” PRO TREK Smart “WSD-F20”

Despite having a 21.14-million-pixel 1/2.3-type backlit CMOS sensor, the GZE-1 turns out only 6.9MP still images and FullHD video. It can, however, record frame rates of up to 240fps, and allows users to vary the frame rate during a clip to mix slow-motion with normal motion in the same sequence. This allows action moments to be shown in slow-motion without users having to record the whole sequence at a high frame rate, or having to combined multiple clips of different speeds in post-processing.

Three-axis electronic image stabilization helps to keep movie footage smooth (though it does nothing for stills) and over-sized buttons make the camera easy to control with gloves on. A resin body coating and a urethane bumper helps the camera withstand drops from 4 meters, high pressure blasts from waves, and water in general to depths of up to 50 meters. The body is also IP 6X dust-proof and can operate in temperatures as low as -10°C.

No price has been released yet but the Casio GZE-1 is due to go on → continue…

From:: DPreview

Why David Fincher’s ‘Mindhunter’ DP Believes ‘There Are No Rules’ in Lighting

By Hawkins DuBois

‘Mindhunter’ DP Erik Messerschmidt shot the darkly intimate show with custom-made RED Xenomorphs.

When it comes to cinematography, every filmmaker, every movie or show, and every shot is different. While there may be a “textbook” way to approach a scene, there is no “correct” way. Even so, patterns and styles always emerge, and few filmmakers have developed a look as distinctive as David Fincher’s. While Fincher is best known for his mysterious and gritty films, ranging from Fight Club to The Social Network, he’s recently ventured into the realm of streaming television, where he has produced and directed the critically-acclaimed House of Cards, and now seeks to expand on that success with the recently-released Mindhunter for Netflix.

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From:: No Film School

Why VR could be on shaky ground as Nokia abandons Ozo

By noreply@redsharknews.com (Adrian Pennington)

VR is following 3D with a lacklustre take-up

First it was 3D, now it could be VR. The news that Nokia is halting development of its Ozo VR system is a further signal that wearing hefty head gear while viewing content is not a marriage made in heaven.

  • VR
  • Ozo
  • Jaunt VR

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    From:: RedShark News

    The Yashica digiFilm Y35 exemplifies everything wrong with retro styling

    Allen Murabayashi is the Chairman and Co-Founder of PhotoShelter. He’s an avid photographer and frequently speaks on how photographers can use online marketing to grow their businesses. This article was originally published on PhotoShelter, and is reproduced here with permission.


    At the turn of the millennium, Chrysler introduced the PT Cruiser, a retro-styled automobile that echoed design elements from the 1930s.

    People went gaga for it because it was retro cool while retaining modern utility. Turning on the car didn’t require the driver to manually crank the engine. The car had air conditioning, power windows, and all the modern accoutrement that said retro cool need not be inconvenient to be successful.

    In photography, a resurgence of interest in film isn’t a self-flagellating exercise. Film possesses a quality that can only be simulated in digital. Large format digital simply doesn’t exist, and many alternative processes have no digital equivalent.

    Companies like Fujifilm have succeeded in incorporating rangefinder-style design, which feels nostalgic while incorporating incredible technology that place their cameras on par with other top-of-the-line offerings from other manufacturers.

    Then, there is Yashica. A few weeks ago, the company teased their “Coming Chapter” featuring an attractive Chinese model in jumpcut vignette that seemed to take styling cues from Blade Runner (PSA: smoking is bad for your health). Although Yashica never scaled the heights of its contemporaries, Nikon and Canon, it still had a fairly storied history with its SLRs and TLRs before Kyocera sold the trademark rights to a Hong Kong-based firm in 2008.

    An initial announcement about a smartphone lens system brought about a collective yawn, but photographers were still waiting to be delighted with a more substantive announcement of their “unprecedented” return to the camera → continue…

    From:: DPreview

    WD will use microwave technology to create 40TB hard drives

    Every time you think we’re approaching the ceiling of what’s possible in the world of photo storage, a new innovation comes along that moves that ceiling just a little (or a lot) higher. Case in point: Western Digital has revealed some new proprietary technology that it claims will allow them to create 40TB 3.5″ spinning disk hard drives (HDDs) by the year 2025.

    According to Engadget, the current max you’ll find in the wild is also made by Western Digital (or, rather, one of its subsidiaries) and maxes out at 14TB. So how does WD expect to almost triple that capacity without increasing the size of the drive itself? The answer: microwaves. Or, more specifically: something called “Microwave-Assisted Magnetic Recording Technology”.

    This MAMR technology is built into a new type of drive head that, according to Western Digital, is able to pack more bits of data onto the same size disk by generating “a microwave field.” Once this technology is fully developed, WD expects it to allow drives to pack up to 4 Terabits of data per square inch of disk, leading to “hard drives with 40TB of capacity and beyond by 2025, and continued expansion beyond that timeframe.”

    If you’d like to learn more about this technology, check out the technical video below:

    WD claims this tech is “ready for prime time,” with the first MAMR drives appearing on the market in 2019. Just in time for 8K video to become standard on smartphones, right?

    Press Release:

    WESTERN DIGITAL UNVEILS NEXT-GENERATION TECHNOLOGY TO PRESERVE AND ACCESS THE NEXT DECADE OF BIG DATA

    Company Builds on its Leadership of Delivering Industry’s Highest Capacity Hard Drives with Demonstration of Breakthrough Innovation on Microwave-Assisted Magnetic Recording Technology

    San Jose, CA – October 11, 2017 – At its “Innovating to Fuel → continue…

    From:: DPreview