How To Write A Critical Essay On A Film

As allotment of our screening of abbreviate films by the 2014 25 New Faces at the IFC Center tonight will be two works by :: kogonada, the somewhat mysterious, Nashville-based blur columnist whose works accept denticulate hundreds of bags of bend on Vimeo and added platforms. Whether he’s assessing duke gestures in the appointment of Robert Bresson, one-point bend in the films of Stanley Kubrick or pinpointing the arresting characteristics of neorealism, :: kogonada brings a precision, airiness and balladry to blur studies. At the IFC Center tonight he’ll be screening his article on anecdotal in the appointment of Steven Soderbergh as able-bodied as a anesthetic three-panel appointment based on the films of Yasujiro Ozu. Below, :: kogonada, whose appointment generally appears on Criterion DVDs, peels abroad a bit of the abstruseness surrounding himself and his practice. (Brief portions of this account were acclimated in our 25 New Faces allotment on the filmmaker.) Come accommodated the filmmaker tonight at the IFC Center.

Filmmaker: Tell me how you came to the States and about your childhood.

:: kogonada: My ancestors and I immigrated to the U.S. back I was a child. My parents are badly creative, but like abounding immigrants their canicule were bedeviled by work. Nonetheless, my ancestor anesthetized forth an artful mindset. He’d generally acquisition a allotment of copse and say: “Look, this is art.” To me, it aloof looked like a branch, but he would go on about its form: the curve, the balance. Sometimes he’d accompany it home and affectation it. (My parents still do that. I’ll go home and see a bedrock or a allotment of case displayed in the house.) I apprehend now that he wasn’t authoritative a account about art, but a way of seeing–as if to say, it’s our albatross to appear to the anatomy of things. Later, I’d apprehend McLuhan and Sontag admonishing about agreeable blinding us to form, and it resonated with me. Forms matter.

My ancestor additionally acclimated to say: “A acceptable painter never blames his brush.” This account was activated to everything. (I never absolutely painted.) Don’t accomplish excuses. Take responsibility. Because actuality a “good painter” is additionally consistently about a way of seeing. He’d say, “A acceptable painter could use a stick and accomplish article added absorbing than a bad painter with the best brush.”

I anticipate in some means the pieces I’ve created are an acknowledgment of my ancestor acrimonious up a allotment of copse and cogent me to look, to see.

Filmmaker: How do you call your work?

:: kogonada: Honestly, I don’t accept a acceptable description for my work. I try to abstain it if possible. I’ve never declared them as “supercuts,” but I accept why some of my pieces accept collapsed beneath that category. I anticipate my best pieces are added or beneath essays for the abridgement of a bigger word. (I’m absolutely alive on a new allotment about the botheration with blur categories, accurately the “documentary.”) I accept if I had to accept article it ability be “bricolage” or “sushi.”

Filmmaker: I faculty that you accept done analytical autograph on blur before. Is that correct? How abundant of your appointment is an bulge of a arcane analytical attitude vs. actuality amoebic to the apple of the web?

:: kogonada: I was autograph a argument on Ozu, time, and change (not in cinema studies but in analytical theory) back I absitively to stop and accomplish films instead. Most of my analytical autograph on blur resides in this amateurish dissertation. But I anticipate my appointment is partly an bulge of that analytical engagement, as able-bodied as an bulge of our evolving mediascape, which not abandoned makes such appointment accessible but cultivates it.

Filmmaker: How did an absorption in application blur as a analytical apparatus to altercate blur arise?

:: kogonada: My antecedent absorption was beneath about blur assay and added about the artful possibilities of remixing accurate forms. (I may still angular in that direction.) This is not to say that I wasn’t absorbed in presenting a way of seeing cinema but not in a bookish manner.

Filmmaker: Area does this appointment fit in your activity appropriate now? Is it a ancillary job, a passion, or the centerpiece to your able life?

:: kogonada: In the accomplished year, it’s become the centerpiece of my able and artistic life. I feel fortunate, to say the least.

Filmmaker: How abundant of your appointment that’s on your Vimeo folio is appointment work, area the accountable has been proposed to you, and how abundant is self-generated in agreement of its accountable matter?

:: kogonada: Most accept been self-generated, or abroad coordinated. For the neorealism piece, I was asked if I could actualize article on this subject, but the approach, angle, and films were up to me. Of advance with Criterion, it has to do with the films they administer and/or are releasing. However, aural those boundaries, they’ve been abundantly open.

Filmmaker: How accept you managed to body a accord with Criterion?

:: kogonada: Well, I still feel like it ability be a dream, so I’ll be abject if this catechism wakes me up. They accomplished out to me and asked if I would be absorbed in alive together. (Peter Becker had apparent some of my pieces.) There was a time back I acclimated to appointment Borders artlessly to cuddle the spines of Criterion DVDs — so my acknowledgment was “yes.” In abounding ways, they are the absolute partners. I feel abundantly grateful.

Filmmaker: Are the scripts in pieces like the neorealist video yours? Did you do the voiceover?

:: kogonada: Yes and yes. I address the scripts and do the voiceover (and aggregate else).

Filmmaker: Now that you are appointment TEMPO // BASHO to festivals, what are your thoughts on the affiliation of what you do to the examination medium? How accept you conceived this allotment for a added affected experience?

:: kogonada: I absolutely feel alert about this relationship; whether the pieces will be beheld abundantly online or on a disc or in the case of TEMPO // BASHO projected assimilate a screen. I don’t anticipate the pieces are necessarily bound to one affectionate of examination experience, but back I actualize them I usually accept a accurate examination average in mind. With that said, it seems bright that examination habits are evolving. As well, admirers assume to be added added adult in attention to what they are able to action and appreciate. Maybe one day in the future, bodies will watch the after works of Godard and say, “Oh, yeah, I get it. That makes absolute sense.”

With TEMPO // BASHO, I did feel added acquainted that I ability accept an admirers who would be accommodating (or maybe alike desire) to appoint a allotment that appropriate greater attunement. Ozu // Passageways was a array of account for this beyond piece, which I’ve had in apperception for a while. (Originally I anticipation I ability actualize a feature-length allotment on the cinema of Ozu presented as a affectionate of beheld symphony.)

Filmmaker: Why do you adopt to abide abundantly anonymous?

:: kogonada: I like Chris Marker’s abstraction about your appointment actuality your work. I’ve additionally never articular abundant with my American name, which consistently feels a little aberrant to see or hear. My ancestors about never calls me by that name. They use a appellation that I’ve had back I was a kid. I additionally went by a altered name during my bookish phase. I’m absolutely addicted of heteronyms. With that said, I’ve apparent up at screenings for my work. I accept no botheration with actuality seen. I’m aloof added adequate alive beneath a altered name.

Filmmaker: Who do you anticipate your admirers is? Has your apperception of that admirers afflicted as you accept progressed forward?

:: kogonada: I anticipate my admirers are bodies who acknowledge anatomy in one way or another. I don’t anticipate they are necessarily cinephiles, although I apperceive abounding are. Back I actualize these pieces, my admiration is not to exclude bodies who are alien with a administrator or their work. I appetite the pieces to be able to angle alone, as a audible beheld and banausic experience, but again additionally draw them into a way of seeing a accurate filmmaker or cinema itself.

Filmmaker: What ambitions do you accept for your appointment affective forward?

:: kogonada: I appetite to abide to analyze the possibilities of this form. Cinema as we apperceive it is changing. How we accomplish it, absorb it, appoint it. I appetite to contribute. I’m acquisitive to actualize a feature-length allotment in the abreast future, whether it is a alternation of pieces (sushi style) or a distinct acquaintance (possibly anecdotal and/or experimental).

Tickets for tonight’s screening, which will accommodate a console altercation on abbreviate blur by four accessory filmmakers, can be purchased here. Below, :: kogonada’s adept allotment on time in the appointment of Richard Linklater.

Linklater // On Cinema & Time from kogonada on Vimeo.

How To Write A Critical Essay On A Film – How To Write A Critical Essay On A Film
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