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Friday, June 20, 2014
'PHANTOM' TICKETS ON SALE TODAY @ 2PM CENTRAL
40TH ANNIVERSARY EVENT JULY 30TH AT ARCLIGHT HOLLYWOOD

Posted by Geoff at 7:31 AM CDT
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YOU SAY THAT
BUT IT'S REALLY NOT TRUE AT ALL
Two days ago, in an article about his disappointment with Brian De Palma's films post Blow Out, Movie Morlocks' Greg Ferrara wrote, "the Odessa steps/Railway station scene in The Untouchables is less a nod to Eisenstein than a 'look, here’s the Potemkin sequence with different actors' setup." Well, no, that's not true at all-- it actually is more of "a nod to Eisenstein," but uses the idea of the baby carriage, and specifically its shots of the wheels hitting each step on the way down, to add suspense and tension to the already suspenseful shoot-out happening on the train station steps. De Palma's contrast here of the innocent (the baby) and the dangerous men all around is part of a theme that runs through the entire film.

All anyone has to do is watch Eisenstein's Odessa Steps sequence side-by-side with De Palma's to see that aside from a lot of steps, a baby in a pram, and people falling violently, what De Palma has constructed in The Untouchables in terms of set-up, staging, story, cinematography, suspense, slow motion, sound, humor, etc. is far different from what is on the screen in Eisenstein's construction. YouTube it for yourself.

Posted by Geoff at 1:58 AM CDT
Updated: Saturday, June 21, 2014 11:41 AM CDT
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Thursday, June 19, 2014
EMBRACE THE STRUGGLE

Posted by Geoff at 7:15 AM CDT
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THINKING BIG, FOR SURE

Posted by Geoff at 7:09 AM CDT
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Tuesday, June 17, 2014


Posted by Geoff at 2:55 AM CDT
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Sunday, June 15, 2014
VIDEO PAYS TRIBUTE TO DE PALMA'S CINEMA
HELLO WIZARD VID USES SONGS 'RELAX', 'SEXE', AND 'SIN CITY'

Posted by Geoff at 11:44 PM CDT
Updated: Tuesday, June 17, 2014 5:04 PM CDT
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Friday, June 13, 2014
'22 JUMP STREET' SPLIT-SCREENS ARE 'DE PALMA-ESQUE'
Phil Lord and Christopher Miller's 22 Jump Street, which opened in theaters today, features an apparently inspired use of split-screen that at least one reviewer has deemed De Palma-esque:

Scott Foundas, Variety
"...Lord and Miller also know how to sell a joke visually better than most contemporary comedy directors, and 22 Jump Street is rife with delightful throwaway visual gags, from De Palma-esque split screens to a car chase (between Hummer and helmet-shaped golf cart) that might have been designed by ‘60s-era Richard Lester."

Sam Cohen, Under The Gun Review
"There are even some sly winks at filmmakers like Michael Bay and Brian De Palma through the film’s multitude of comedic set pieces. The film begins with a shot that pans in over Schmidt and Jenko conversing on the top of a parking garage with the sunset in the background. Naturally, some stakes-raising music along with a complimentary lens flare occupy the sequence as an almost direct stab at the generic Hollywood blockbuster aesthetic. That’s the best part about 22 Jump Street, it knows what films to make fun of it but it invites you to be a part of the joke as the viewer."


Posted by Geoff at 7:13 PM CDT
Updated: Friday, June 13, 2014 7:15 PM CDT
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Thursday, June 12, 2014


Posted by Geoff at 6:13 PM CDT
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Wednesday, June 11, 2014
TEA AND A MOVIE COMPARES 'CARRIE', 'BASTERDS'


The influence of Brian De Palma's Carrie on the climax of Quentin Tarantino's Inglourious Basterds has previously been mentioned/discussed here and here, and now the Tea And A Movie Tumblr has posted side-by-side frame comparisons that make the links between the two movies pretty clear. When you go to the tumblr, click on one of the images to see larger versions.

Posted by Geoff at 7:49 PM CDT
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Monday, June 9, 2014
ALL 30 OF DELLSPERGER'S 'BODY DOUBLE' SERIES
EXHIBITION AT TEAM GALLERY IN NEW YORK THROUGH AUGUST 1ST


Brice Dellsperger's video series, Body Double, which is titled after the Brian De Palma film of the same name, is currently on exhibit at New York's Team Gallery. The show, which consists of all thirty videos in the series, began yesterday, and continues through August 1st. According to the Team Gallery website, "the program changes weekly, repeating itself mid-way through the exhibition to give viewers several chances to view all the pieces."

The press release states, "For the past two decades, Dellsperger has developed a vast, nearly overwhelming body of work, titled Body Double after Brian De Palma’s psycho-sexual thriller of the same name. The oeuvre consists of thirty video works, investigations into the conceptual, social and formal tropes that inform cinema and spectatorship. Both reverent and destructive towards his source material, the artist’s practice voraciously cannibalizes and digests iconic moments in film. The resultant works are arresting, both viscerally affecting and deeply cerebral, heavily informed by film and queer theory.

"The act of doubling is among the work’s central conceits; contending not only with issues of material and visual replication, but also with the duplicative nature of film itself. Dellsperger elaborately reproduces famous movies with varying degrees of loyalty to the original texts. He most often casts just one or two actors, most often himself or the artist Jean-Luc Verna made up as women, in all roles. Certain elements – narrative chronology, characters’ original gender identities – are frequently abandoned, while others – score, dialogue – remain intact. Each artwork is the drag-queen doppelganger of its source: a dedicatedly faithful and wholly recognizable copy, but one that is forthcoming with its artificiality.

"The content and the title are direct references to Brian De Palma, specifically to the titular 1984 film, which skewers Hollywood through a depiction of its underworld double – the porn industry. The title Body Double refers simultaneously to this original source material, the artist’s use of surrogate actors and to De Palma's own repeated use of three films by Alfred Hitchcock, Rear Window, Vertigo, and Psycho, as blueprints to build upon. Dellsperger’s similarly imitative works are complex and unending mirrors, reflecting their own reflections ad infinitum. He rejects the notion of artist as demiurge; the act of reframing pre-existing materialfunctions crucially and visibly at every level of his art.

"The works subvert the straightforward readings of sexual identity we expect when we go to the movies. For example, a scene from De Palma’s Dressed to Kill is re-enacted by the artist dressed as a woman, portraying both halves of a heterosexual couple. The original sequence relies on ambiguity: the viewer derives excitement from her confusion as to who is following whom. The Body Double version creates a secondary queer narrative of lust and narcissistic abandon, while also leaving the original power of De Palma’s film intact. Dellsperger’s piece also acts as a metaphor for the mimetic relationship between film and life – the 'chase scene' that takes the cinematic and the real as its ever-trysting protagonists.

"The gallery will show all thirty extant works from the series. The program changes weekly, repeating itself mid-way through the exhibition to give viewers several chances to view all the pieces. Our Grand Street space will show one video each week as a large-scale single channel projection. The Wooster Street space will be treated as something of a lab, in which five monitors display single-channel pieces, while a triptych of flat screens exhibit Dellsperger’s multiple-channel films. Many of these works have never been screened in New York. Among the texts re-interpreted by the artist are those of such vaunted auteurs as Kubrick, Anger, Lynch, Zulawski, Hitchcock and Fassbinder; lesser-respected works chosen by Dellsperger for their pop cultural power (Saturday Night Fever, Return of the Jedi and Flash Gordon among them) and, of course, many troublesome, still controversial scenes from the work of De Palma."

The Team Gallery website also features PDF's of print reviews of Dellsperger's works, including this recent article by Mara Hoberman from a recent issue of ArtForum.


Posted by Geoff at 8:25 PM CDT
Updated: Monday, June 9, 2014 8:27 PM CDT
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