A timely look at scenes involving watches and clocks
This week's Clip joint is by Maddy Potts. Think you can do better? Email your idea for a future Clip joint to adam.boult@guardian.co.uk
Clocks – the ticking over of hands or the neon glow of shape-shifting digits – an obvious but surprisingly diverse metaphor. They indicate the passing of time, they suggest ageing and they create suspense. They're the visual cue for a concept otherwise tough to portray in cinema – the almost incomprehensible inevitability of time. Characters can run out of it, be up against it or waste it, but the humble clock will play the lead in the cliche. For that reason, timepieces have found themselves being double-checked, wound up, smashed and hung on to for dear life in some of the most iconic moments in cinema.
1. About Schmidt
The opening scene of Alexander Payne's bleak comedy shows Jack Nicholson as Schmidt,...
This week's Clip joint is by Maddy Potts. Think you can do better? Email your idea for a future Clip joint to adam.boult@guardian.co.uk
Clocks – the ticking over of hands or the neon glow of shape-shifting digits – an obvious but surprisingly diverse metaphor. They indicate the passing of time, they suggest ageing and they create suspense. They're the visual cue for a concept otherwise tough to portray in cinema – the almost incomprehensible inevitability of time. Characters can run out of it, be up against it or waste it, but the humble clock will play the lead in the cliche. For that reason, timepieces have found themselves being double-checked, wound up, smashed and hung on to for dear life in some of the most iconic moments in cinema.
1. About Schmidt
The opening scene of Alexander Payne's bleak comedy shows Jack Nicholson as Schmidt,...
- 7/18/2012
- by Guardian readers
- The Guardian - Film News
This week's clip joint rifles through the record collection to find the best scenes with characters forced to face the music
This week's Clip joint is by James Kipping, a freelance floor runner for film and television. Think you can do better? Email your idea for a future Clip joint to adam.boult@guardian.co.uk
Diegetic music in film is often heard in clubs scenes or car radios, creating atmosphere but rarely having the power to affect characters. So going for the most despondent Clip joint award, here are a selection of films that feature recurring songs that haunt our characters, songs that bring either painful memories or strike fear in others that hear them. The positive note being that I like to think these characters enjoyed the songs at some point in their lives…
1. Three Colours: Blue (Song for the Unification of Europe)
After Juliette Binoche's composer...
This week's Clip joint is by James Kipping, a freelance floor runner for film and television. Think you can do better? Email your idea for a future Clip joint to adam.boult@guardian.co.uk
Diegetic music in film is often heard in clubs scenes or car radios, creating atmosphere but rarely having the power to affect characters. So going for the most despondent Clip joint award, here are a selection of films that feature recurring songs that haunt our characters, songs that bring either painful memories or strike fear in others that hear them. The positive note being that I like to think these characters enjoyed the songs at some point in their lives…
1. Three Colours: Blue (Song for the Unification of Europe)
After Juliette Binoche's composer...
- 7/11/2012
- by Guardian readers
- The Guardian - Film News
What’s brand new, big and British? Why, it’s the first annual London Underground Film Festival, which will run at the infamous Horse Hospital underground screening room on Dec. 4-10.
Seven full days and nights is an exceptionally aggressive schedule for a first time out, but it’s even more impressive once you dig into the variety of films and programs being offered, including lectures, installations and live performances mixed in with feature length films and short film programs.
To help out with such an ambitious project, the London Underground has asked a couple of festival big guns to help them out. First, underground film historian and Program Director of Australia’s Revelation Perth International Film Festival Jack Sargeant has curated a full day of films for Sunday, Dec., all of which have played at Revelation under his watch.
The films Sargeant has picked are Kevin Barker’s The Family Jams,...
Seven full days and nights is an exceptionally aggressive schedule for a first time out, but it’s even more impressive once you dig into the variety of films and programs being offered, including lectures, installations and live performances mixed in with feature length films and short film programs.
To help out with such an ambitious project, the London Underground has asked a couple of festival big guns to help them out. First, underground film historian and Program Director of Australia’s Revelation Perth International Film Festival Jack Sargeant has curated a full day of films for Sunday, Dec., all of which have played at Revelation under his watch.
The films Sargeant has picked are Kevin Barker’s The Family Jams,...
- 12/1/2010
- by Mike Everleth
- Underground Film Journal
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