If you want to make video essays, there’s no better film to study than Orson Welles’ 1973 masterpiece, F for Fake. There are a million lessons to take away from it, but today, let’s see what it has to teach us about structure. NO SPOILERS.
Duke Ellington, Charles Mingus & Max Roach - Very Special
Michel Legrand - F for Fake (Cinéma)
A Tribe Called Quest - Oh My God (Instrumental)
Michel Legrand - Orson’s Theme (After the Rain Version)
A Tribe Called Quest - Oh My God
Trey Parker & Matt Stone at NYU: nyti.ms/1bNx6xf
John Sturges' legendary audio commentary: http://bit.ly/1C2Jq1J
For the first time, the whole series as a single video in HD.
Written and Remixed by Kirby Ferguson
In the five years since the series launched, Everything is a Remix has been viewed over two million times and produced a popular TED Talk. Amazingly, Remix continues to change the way people think about creativity, originality, and copyright.
To celebrate the five year anniversary, I've polished up the original four parts and merged them into a single video. For the first time now, the whole series is available as a single video with proper transitions all the way through, unified styling, and remixed and remastered audio. Part One has been entirely rebuilt in HD.
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.
"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
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)