1. Welcome to The Discarded Image. A new online video series that analyses and deconstructs well known pieces of cinema. In this episode I look at the beach scene from Steven Spielberg's pop classic JAWS.

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    Here's a link to the beach sequence without commentary - vimeo.com/122302722

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    "Spielberg asserted his own role and deftly organized the elements of a roller coaster without sacrificing inner meanings. The suspense of that picture came from meticulous technique and good humour about its own surgical cutting. You only have to submit to the travesty of JAWS 2 to realize how much more engagingly Spielberg saw the ocean, the perils, and the sinister beauty of the shark, and the vitality of its human opponents."

    David Thompson in The New Biographical Dictionary of Film

    "Spielberg uses his gift in a very free-and-easy, American way - for humour, and for a physical response to action. He could be that rarity among directors, a born entertainer - perhaps a new generation's Howard Hawks."

    Pauline Kael in her review of The Sugarland Express

    Films Referenced:

    Sabotage (Hitchcock, 1936)
    Citizen Kane (Welles, 1941)
    Rear Window (Hitchcock, 1954)
    Vertigo (Hitchcock, 1958)
    Pierrot Le Fou (Godard, 1956)
    Weekend (Godard, 1967)
    Jaws (Spielberg, 1975)
    Carrie (De Palma, 1976)
    Close Encounters of the Third Kind (Spielberg, 1977)
    Raiders of the Lost Ark (Spielberg, 1981)
    E.T. the Extra-Terrestrial (Spielberg , 1982)
    Indiana Jones and the Temple of Doom (Spielberg , 1984)
    Jurassic Park (Spielberg , 1993)
    Saving Private Ryan, (Spielberg , 1998)
    A.I. Artificial Intelligence (Spielberg , 2001)
    Catch Me if you Can (Spielberg , 2002)
    War of the Worlds (Spielberg. 2005)
    Munich (Spielberg , 2005)
    The Adventures of Tintin: The Secret of the Unicorn (Spielberg, 2011)
    Moonrise Kingdom (Anderson, 2012)

    # vimeo.com/122479442 Uploaded 136K Plays 56 Comments
  2. Welcome to The Discarded Image. In this episode I'll be looking at the Pool Hall sequence from Brian De Palma's Carlito's Way.

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    YouTube version - http://bit.ly/1MhgyrN

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    Sequence without commentary - vimeo.com/130426446

    For educational purposes only.

    Pauline Kael on Dressed to Kill:

    The gliding, glazed-fruit cinematography is intoxicating but there's an underlay of dread, and there's something excessive in the music that's swooshing up your emotions. You know you're being toyed with. The apprehensive moods are stretched out voluptuously, satirically—De Palma primes you for what's going to happen and for a lot that doesn't happen. He sustains moods for so long that you feel emotionally encircled. He pulls you in and draws the wires taut or relaxes them; he practically controls your breathing.

    Pauline Kael on Blow Out:

    It's hallucinatory, and it has a dreamlike clarity and inevitability, but you'll never make
    the mistake of thinking that it's only a dream.

    Further Reading:

    Matt Zoller Seitz - reverseshot.org/symposiums/entry/1148/carlitos_way

    Adrian Martin - lolajournal.com/4/carlito.html

    Film/TV:

    The Searchers (Ford, 1956)
    L'Eclisse (Antonioni, 1962)
    Le Mépris (Godard, 1963)
    The Good, the Bad and the Ugly (Leone, 1966)
    Belle de Jour (Buñuel, 1967)
    Hi Mom! (De Palma, 1970)
    The Godfather (Coppola, 1972)
    Sisters (De Palma, 1973)
    Jaws (Spielberg, 1975)
    Carrie (De Palma, 1976)
    The Fury (De Palma, 1978)
    Grease (Kleiser, 1978)
    Dressed to Kill (De Palma, 1980)
    Blow Out (De Palma, 1981)
    Scarface (De Palma, 1983)
    Body Double (De Palma, 1984)
    The Untouchables (De Palma, 1987)
    Raising Arizona (Coen, 1987)
    Casualties of War (De Palma, 1989)
    Twin Peaks: Season 1, Episode 3 (Lynch, 1990)
    Raising Cain (De Palma, 1992)
    Carlito's Way (De Palma, 1993)
    Pulp Fiction (Tarantino, 1994)
    Mission: Impossible (De Palma, 1996)
    Snake Eyes (De Palma, 1998)
    Magnolia (Anderson, 1999)
    Mission to Mars (De Palma, 2000)
    O Brother, Where Art Thou? (Coen, 2000)
    Femme Fatale (De Palma, 2002)
    Minority Report (Spielberg, 2002)
    Chris Rock: Never Scared (Gallen, 2004)
    Fantastic Mr. Fox (Anderson, 2009)
    Only God Forgives (Winding Refn, 2013)

    Music:

    Wu Tang Clan - A Better Tomorrow
    Mos Def - Got
    Ludacris - Move Bitch
    Hues Corporation - Rock the Boat

    # vimeo.com/130616396 Uploaded 6,868 Plays 10 Comments
  3. Welcome to The Discarded Image. In the final episode of the series I'll be looking at the climactic sequence from George Lucas' 'Star Wars'.

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    Sequence without commentary - vimeo.com/148603340

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    For educational purposes only.

    Will Brooker:

    "The one element that Star Wars genuinely introduces to Lucas’s
    work, and that his previous films, from shorts to features, all lack,
    is a direct, linear and conventional storyline, created through the
    condensation of several earlier adventure stories into a powerful
    narrative structure: the simple fable of a young man leaving his
    home, finding his destiny, assembling a team and taking up the fight
    against an enemy. Its explicit aim was to provide a modern fairy story
    for a generation that had grown up without them."

    Film/TV References:

    Flash Gordon (Stephani, 1936)
    The Adventures of Robin Hood (Curtiz/Keighley, 1938)
    The Dam Busters (Anderson, 1955)
    The Searchers (Ford,1956)
    Paths of Glory (Kubrick, 1957)
    The Hidden Fortress (Kurosawa, 1958)
    633 Squadron (Grauman, 1964)
    Electronic Labyrinth THX 1138 4EB (Lucas, 1967)
    2001: A Space Odyssey (Kubrick, 1968)
    THX 1138 (Lucas, 1971)
    The Godfather (Coppola, 1972)
    American Graffiti (Lucas, 1973)
    Chinatown (Polanski, 1974)
    Jaws (Spielberg, 1975)
    Star Wars (Lucas, 1977)
    Apocalypse Now (Coppola, 1979)
    Star Wars: The Empire Strikes Back (Lucas,1980)
    Star Wars: Return of the Jedi (Lucas, 1983)
    Top Gun (Scott, 1986)
    The Last Temptation of Christ (Scorsese, 1988)
    Saving Private Ryan (Spielberg, 1998)
    The Thin Red Line (Malick, 1998)
    Star Wars: The Phantom Menace (Lucas, 1999)
    Star Wars: Attack of the Clones (Lucas, 2002)
    Star Wars: Revenge of the Sith (Lucas, 2005)
    Wars of the Worlds (Spielberg, 2005)

    # vimeo.com/148887200 Uploaded 9,778 Plays 11 Comments
  4. In this first episode in a continuing series about landmark horror films I will be looking at Alfred Hitchcock's Psycho - the "Mother" of modern horror. I pay specific attention to the devious ways Hitchcock toys with audience sympathies.

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    If you would like to embed this video onto your blog, or website, please use the YouTube version - http://bit.ly/1nQw892

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    For educational purposes only.

    David Thomson:

    "The critical dogfights over Hitchcock's status were fought at a crucial time, in the early 1960s, to assert the value of his greatest works - Rear Window, Vertigo, North by Northwest, Psycho, and The Birds. And these films are without equal for the way they adjust the cinematic image to our expectations. They are deeply expressive of the way we watch and respond to stories. Their greatness is often employed to explain the nature and workings of cinema. Thus Hitchcock became a way of defining film, a man exclusively intent on the moving image and the compulsive emotions of the spectator."

    Films Referenced:

    Dracula (Browning, 1931)
    Frankenstein (Whale, 1931)
    The Mummy (Freund, 1932)
    Shadow of a Doubt (Hitchcock, 1943)
    Notorious (Hitchcock, 1946)
    Strangers on a Train (Hitchcock, 1951)
    Dial M for Murder (Hitchcock, 1954)
    Rear Window (Hitchcock, 1954)
    Vertigo (Hitchcock, 1958)
    Psycho (Hitchcock, 1960)
    The Birds (Hitchcock, 1963)
    Sisters (De Palma, 1973)
    The Exorcist (Friedkin, 1973)
    The Texas Chainsaw Massacre (Hooper, 1974)
    Halloween (Carpenter, 1978)
    Blood Simple (Coen, 1984)
    Shallow Grave (Boyle, 1994)
    Jackie Brown (Tarantino, 1997)
    No Country for Old Men (Coen, 2007)

    # vimeo.com/159301414 Uploaded 4,965 Plays 5 Comments
  5. Welcome to The Discarded Image. In this episode I'll be looking at the "Last Day as a Wise Guy" sequence from Martin Scorsese's Goodfellas.

    Help support the videos - patreon.com/thediscardedimage

    YouTube Version - http://bit.ly/1NxydNI

    Sequence without commentary - vimeo.com/134835336

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    Produced by 1848 Media.

    For educational purposes only.

    Roger Ebert on the sequence:

    Scorsese has never done a more compelling job of getting inside someone's head as he does in one of the concluding passages of "GoodFellas," in which he follows one day in the life of Henry Hill, as he tries to do a cocaine deal, cook dinner for his family, placate his mistress and deal with the suspicion that he's being followed.

    This is the sequence that imprinted me so deeply with the mood of the film. It's not a straightforward narrative passage, and it has little to do with plot; it's about the feeling of walls closing in, and the guilty feeling that the walls are deserved. The counterpoint is a sense of duty, of compulsion; the drug deal must be made, but the kid brother also must be picked up, and the sauce must be stirred, and meanwhile, Henry's life is careening wildly out of control.

    Film:

    Scarface (Hawks, 1932)
    The Roaring Twenties (Walsh, 1939)
    Bicycle Thieves (De Sica, 1948)
    On the Waterfront (Kazan, 1954)
    Rear Window (Hitchcock, 1954)
    Shoot the Pianist (Truffaut, 1960)
    Breathless (Godard, 1960)
    Who's That Knocking at My Door (Scorsese, 1967)
    Faces (Cassavetes, 1968)
    2001: A Space Odyssey (Kubrick, 1968)
    The Godfather (Coppola, 1972)
    Mean Streets (Scorsese, 1973)
    Jaws (Spielberg, 1975)
    Taxi Driver (Scorsese, 1976)
    Apocalypse Now (Coppola, 1979)
    Raging Bull (Scorsese, 1980)
    Scarface (De Palma, 1983)
    Miller's Crossing (Coen, 1990)
    Carlito's Way (De Palma, 1993)
    A Personal Journey with Martin Scorsese Through American Movies (Scorsese/Wilson, 1995)
    Casino (Scorsese, 1995)
    The Departed (Scorsese, 2006)
    The Wolf of Wall Street (Scorsese, 2013)

    Music:

    Rags to Riches - Tony Bennett
    Baby, I Love You - Aretha Franklin
    Gimme Shelter - The Rolling Stones
    Monkey Man - The Rolling Stones
    What is Life - George Harrison
    Muddy Waters - Mannish Boy
    Jump into the Fire - Harry Nilsson
    Sunshine of Your Love - Cream
    Layla (Piano Exit) - Derek and the Dominos
    Magic Bus - The Who
    Memo from Turner - Mick Jagger

    # vimeo.com/135486928 Uploaded 29.8K Plays 9 Comments

The Discarded Image

Julian Palmer Plus

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