Despite a relatively small filmography, Carl Theodor Dreyer is truly a revered figure in cinema history; his emotionally draining storytelling and mysteriously slow output rate have afforded him an almost mythic status. The illegitimate son of a Swedish housekeeper, Carl Dreyer would pass through multiple foster homes before his placement in the care of Carl Theodor and Inger Marie Dreyer, around the same time as his biological mother’s accidental death. Dreyer would later estrange himself from his adpoted family as a teenager, and though dismissive of the impact of his childhood in interviews, his past seems unquestionably tied to his cinematic ruminations of sorrow, interpersonal disconnect, and martyrdom.
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On March 7, 2010, the American Academy of Motion Picture Arts and Sciences finally recognized a woman as being worthy of the title ‘best director’ for the first time in the 81-year history of the Academy Awards. Even as a constant Hollywood critic, Deren would have loved to have seen that moment, if not receive an achievement award from the Academy (which should happen). Originally from the Ukraine, her family came to America five years after her birth. After college, she made her way to New York City where she did a thesis on poetry, worked as a photographer and assisted a choreographer. She then made her way out to Los Angles, finding a kindred spirit in Czech Alexander Hammid, who became her second husband and collaborator on Meshes of the Afternoon, which alone would have assured her place in film history.
The most polarizing—and under-appreciated—director of the New Hollywood, Brian De Palma’s ultimate legacy may be that of being the first post-modernist director in American cinema. While the so-called “movie brats” of the 1970s may have reveled in their cinematic upbringings, none did so more explicitly than De Palma. Referencing movie lore visually and orally may be business as usual in 2011, but back in 1973, when De Palma made the Hitchcockian Sisters, more than a few eyebrows were raised. He did himself no favors by continuing to draw comparisons to the Master of Suspense, and the primary argument by De Palma detractors is that he is simply an imitator, as opposed to an innovator. De Palma would probably never deny this as he has made a point out of exploring the nature of copying and doubles in films like the claustrophobic Body Double and the erotic thriller Femme Fatale. Throughout his career he has shown a fascination with what can only be deemed as “possession”. Whether it be the cross dressing killer of Dressed to Kill (1980) (which not coincidentally features a now iconic shower scene with Angie Dickinson) or the identity disorder of Mission: Impossible (1996), De Palma seems mystified by the idea of taking over someone else’s life. His “imitation” therefore should be studied as a symptom of post-modernism: who are we really in a world largely influenced by the media?
There’s no definitive release date yet for The-Dream’s The Love, IV (Diary of a Mad Man), but he has just dropped a free album, 1977, on his website and you don’t even have to fork over an email address to get it.
01 Wake Me When It’s Over
02 Used to Be
03 Long Gone
04 Ghetto (ft. Big Sean)
05 Wedding Crasher
06 Rolex (ft. Casha)
07 Silly (Introducing Casha)
08 1977 (Miss You Still)
09 Wish You Were Mine
10 This Shit Real Ni**a (ft. Pharrell)
11 Form of Flattery
“I always freak out when I hear people opposing sensation to story-telling,” Claire Denis has said. “A great story-teller always gives you that sense of warmth or cold… [Sensation and story-telling] are not opposed … Why deprive a film of what belongs to cinema?” Perhaps more consistently than any other contemporary filmmaker, Denis’ movies work to make sensation into story-telling, and vice versa. Elliptical and fragmentary, sometimes oblique to the point of opacity, Denis’ films re-write the rule-book in terms of narrative content and characterization, her stories often emerging through an intense focus on the bodies of her actors and a moody, sensuous evocation of places and spaces. The result is a cinematic style that, in its combination of discretion and ellipsis with moments of confrontational, sometimes brutal directness, is one of the most distinctive in modern French cinema.