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About dVertov

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  1. Hello Morrison Many movie theorists and directors deplored the arrival of sound, since for them cinema was basically telling stories using visual means. They were enough to create impacting images. When I watch a movie by Murnau, Eisenstein, Keaton, and many others, I would agree with them. I also believe Hitchcock was one of these directors, and this passage from the book by Francois Truffaut on Hitch seems to confirm it. Here is what Hitch says on the subject: "The silent pictures were the purest form of cinema; the only thing they lacked was the sound of people talking and th
  2. Thanks again, Professor Edwards. It has been a wonderful experience and I have learned a lot during the course. Many folks at the forums really know what they are talking about and I also have learned a lot reading their posts. Congrats to you, your entire team, my colleagues, Eddie Muller, Canvas and TCM. I hope you can once in a while drop a comment or resource to keep things going. Or even better, a new course. Thanks everybody!
  3. In my only reading of a Mike Hammer's book he slept with all the girls in the story, including his secretary, only one woman escaped this fate, she was ugly and she was a communist. It fits in what we see in the clip and also in the rest of the movie, the cold war hysteria and a guy who doesn't spend much time trying to be a gentleman, who treats his car as his girlfriend and his girlfriends as a "dame" or worse. His ill humor with the situation indicates he is only interested in things he can make a profit of. The jazz music places him as cool guy, who enjoy nice things on life, not a grump
  4. Many people have commented about the zither music played as theme in The Third Man. I have just found out that there is an entire article about it on Wikipedia. Below I paste the main part of if, but you can read the article on this link. The Third Man is a 1949 British film noir, directed by Carol Reed.[1] One night after a long day of filming The Third Man on location in Vienna, Reed and cast members Joseph Cotten, Alida Valli and Orson Welles had dinner and repaired to a wine cellar. In the bistro, which retained the atmosphere of the pre-war days, they heard the zither music of
  5. Yes, I agree with you. They don't run away screaming. But where do this fatality this sense of doom, come from? I suspect that at least a part of it has its origins in Europe. Many writers, directors and others artists fled from the hell on earth, Nazism, leaving relatives and friends to die there. I suspect that some carried with them their fears, anxieties and lack of faith in the future into the movies they made.
  6. If i am in a city where corpses pop up once in while here and there, and I notice someone is stalking me I wouldn't stop, I would keep walking. Better yet, I would keep running and screaming. But tougher than me noir guys don't do that. They scream to the other guy hidden in the shadows, allowing us to watch one of most fine entrances in noir movies, which starts just with a man's feet. The cat between the feet adds a creative touch to the entrance, as well the unexpected source of light illuminating the face of Orson Welles, who can't do nothing else than gives us a embarrassed smile. And coi
  7. I tip my hat to the colleagues of this course, they have covered with insightful analysis the most important aspects of the clip. So, I will talk about first about some points I haven't seen discussed much so far. The first one is the sign Man Wanted. Probably I have never seen one with so many meanings in just one movie, Man Wanted by an Employeer, Man Wanted by a Lover/Sexy Woman and finally Man Wanted by the Police. Maybe there are more meanings to that signal, if you are aware of a new one, please let me know. Many people commented that Cora is wearing white, symbolizing purity, a str
  8. I have never thought about the transition between formalism and realism in noir movies, even less in The Killers, so it is a new angle to explore. Thanks professor Edwards! And now, watching the scene, it is very clear the transition from the bar and Swede's room, from realism to formalism. And I didn't know about Edward Hopper and his influence over movies and noir in special. He even influenced Blade Runner, according to Wikipedia. So again, another path has been opened. The loneliness of people, even places in Hopper's works seems indeed to have a connection with noir movies. I agr
  9. I've always been told that this is most famous striptease in the movie history and I agree. I was mesmerized by it since the first time I watched it and I believe the censors at that time felt the same and so they let it go. I can imagine them saying to their angry wives, "But hon, she was only dancing and singing". But we know otherwise. She was willing to do more than dancing and singing. I don't believe she is in control. She seems drunk and falls to pieces after discussing with Ford. She lets her raw sexuality let loose, causing havoc among men. And Ford, poor guy, is barely able to c
  10. Watching the clip I see two guys doing a dirty, menial job. Once in a while they go near hell, sometimes by fire (furnace) sometimes by darkness (the tunnel). I don't expect to see them after work sitting around a croissant discussing the ups and downs of a Platonic love. I expect them to keep being raw and dirty. That's how life treats them. That's how they will treat life and others.
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