{"id":42158,"date":"2020-03-22T20:03:14","date_gmt":"2020-03-22T19:03:14","guid":{"rendered":"http:\/\/film-mag.net\/wp\/?p=42158"},"modified":"2020-03-22T20:03:14","modified_gmt":"2020-03-22T19:03:14","slug":"from-caligari-to-mabuse-plus-kathleen-collins-sensory-ethnography-and-an-eye-popping-terry-gilliam-fantasy","status":"publish","type":"post","link":"http:\/\/film-mag.net\/wp\/?p=42158","title":{"rendered":"From Caligari to Mabuse… Plus: Kathleen Collins, sensory ethnography, and an eye-popping Terry Gilliam fantasy"},"content":{"rendered":"\n\n\n
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A guide to the latest from\u00a0the Criterion Channel. If you haven\u2019t already subscribed,\u00a0click here<\/a>\u00a0for a 14-day free trial and explore the more than 2,000 titles and thousands of supplemental features available to stream.<\/em><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
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German Expressionism<\/a><\/p>\n

Physical reality warps and bends to fit the twisted psychological states on display in the cinema of the German expressionist movement of the 1920s. With their emphasis on exaggerated shadows, off-kilter camera angles, dreamlike sets, and macabre story lines, these movies paved the way for the aesthetics of both horror cinema and film noir, genres in which mood and atmosphere take precedence over realism.<\/p>\n

Looking for a place to start?<\/strong>
\nDelve into the delirious nightmares of The Cabinet of Dr. Caligari,<\/strong><\/em> the quintessential example of the movement\u2019s bughouse style, and Nosferatu,<\/strong><\/em> F. W. Murnau\u2019s horror landmark. Then meet Fritz Lang, the visionary who directed masterpieces like Metropolis<\/strong><\/em> and M<\/strong><\/em> before importing expressionist aesthetics to Hollywood.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
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Directed by Kathleen Collins<\/a><\/span><\/p>\n

These lost-and-found revelations by a trailblazing writer, academic, and filmmaker reveal a talent of unique vision and philosophical insight.<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
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In the Service of Horror<\/a><\/span><\/p>\n

In this episode of Observations on Film Art, Professor Kristin Thompson illustrates how Picnic at Hanging Rock<\/strong><\/em>\u2019s cinematography casts an enigmatic spell.<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
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Three Documentaries from the Sensory Ethnography Lab<\/a><\/span><\/p>\n

Immerse yourself in these stunning audiovisual experiences at the intersection of cinema and anthropology.<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
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Thoroughly Modern Malaise<\/a><\/span><\/p>\n

These late-career riddles from Michelangelo Antonioni revolve around mysteries, secrets, and the search for someone who may hold the answers.<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
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The Adventures of Baron Munchausen<\/a><\/span><\/em><\/p>\n

Terry Gilliam\u2019s lavish fantasy bursts with wit, invention, and eye-popping imagery, its astounding special effects achieved without the assistance of CGI.<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
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Express Yourself<\/a><\/span><\/p>\n

These gender-bending coming-of-age portraits from Macedonia and France celebrate what it means to live as your authentic self.<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
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Leaving March 31<\/h3>\n

The clock is ticking on a number of great movies we\u2019ve programmed on the Criterion\u00a0Channel. Here are some of the most popular titles:<\/p>\n

The Piano<\/strong><\/em>\u00a0(Jane Campion, 1993)
\nA Girl Walks Home Alone at Night\u00a0<\/em><\/strong>(Ana Lily Amirpour, 2014)
\nHardcore\u00a0<\/em><\/strong>(Paul Schrader, 1979)
\nRed River\u00a0<\/strong><\/em>(Howard Hawks, 1948)
\nDesperately Seeking Susan\u00a0<\/em><\/strong>(Susan Seidelman, 1985)
\nA Place in the Sun\u00a0<\/strong><\/em>(George Stevens, 1951)<\/p>\n

Click here<\/strong><\/a> for a full list of films\u00a0leaving\u00a0the service March 31.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[izvor informacije The Criterion Channel<\/strong><\/a>]<\/p>\n

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