Kumiko, the Treasure Hunter (original) (raw)
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2018
This is a film review of King in the Wilderness (2018), directed by Peter W. Kunhardt.
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On the Heterogeneity of Cinematography in the Films of Aki Kaurismäki
Projections: The Journal for Movies and Mind, 2015
Aki Kaurismäki’s feature-length fictional films are often discussed as a stylistically homogenous group. Because critics have looked for similarities, they have neglected differences among the films. This article tests prevailing arguments about the cinematographic style of Kaurismäki’s films in a quantitative analysis of shot lengths, camera movements, reverse angles, point of view shots, and shot scales. The analysis indicates significant similarities and changes among the films and notable stylistic changes. The results of the study complicate existing claims about Kaurismäki’s style. Mismatches between impression and fact are best explained by analyzing the parts of Kaurismäki’s style that “stand out” and the reasons why they do so.
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Doing a Lot with Little: The Camera’s Minimalist Point of View in the Films of Aki Kaurismäki
Journal of Scandinavian Cinema, 2016
Aki Kaurismäki’s film style has often been labelled minimalist, but the concept has been used without an exact definition and even fundamental questions relating to his minimalism have gone unanswered. This article contextualizes Kaurismäki’s cinematography as well as explores in detail his systematic and significant use of camera techniques that can be productively understood as minimalist. Examples demonstrate how Kaurismäki’s camera positions the audience in a specific relationship to the story world and its characters, guiding viewers to experience these from what is termed the camera’s minimalist point of view.
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The Kingmaker; A Film Study Guide
The Kingmaker; A Film Study Guide, 2022
Campomanes, Alvin. 2022. GOYO: The Kingmaker; Film Study Guide. Quezon City: Dakila. This publication provides a guide on how to watch, review, and analyse the film The Kingmaker (2019) directed by Lauren Greenfield.
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Film review_ The Scouting Book for Boys
No film better expresses the concerns and ambitions of the Venezuelan documentary film movement of the late 50s than Araya. It was directed by Margot Benacerraf, and in that same year this film had earned Cannes International Critics Prize (along with Alain Resnais' Hiroshima mon amour). Araya stands as a landmark in Venezuelan cinema and also counts as a national film. But Margot considers Araya is not a documentary film rather then the metaphor of poem.
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