Screen
The collective ‘Ahhh!’
The cinema has few theorists as gifted as David Bordwell. Film Art: An Introduction, co-written with Kristin Thompson and Jeff Smith, is taught in...
Three came back
Hollywood Producer Samuel Goldwyn said it straight: “I don’t care if the film doesn’t make a nickel. I just want every man, woman and child in America to see it...
Democracy in the dark
One of the great pleasures of living in Boulder is once again upon us with the 69th iteration of the Conference on World Affairs...
‘How it feels to be black’
Rediscovering Gordon Parks with Criterion’s release of ‘The Learning Tree’
‘True’ crime
Boston was in a panic. Thirteen women were murdered from June 1962 to January 1964. All were in their homes; all were alone. There...
The unspoken space between
When writer/director Jason Hall’s brother returned home from the 1990s conflict in the Middle East, he did so with his “arms and legs and...
Just whose America is this?
July 12, 1917, Bisbee, Arizona: Cochise County Sheriff Harry Wheeler and a deputized posse nearly 2,000 people strong rounded up 1,300 striking miners —...
Lost in a sea of memory
Few films can announce themselves as succinctly with an opening image as Frantz does. In the foreground: green leaves and pink flowers waving in...
See you on the other side
You don’t know it at first, but this is purgatory. Well, a way station might be a better description. Regardless, all the clients who...
The rhythm of storytelling
As the Master of Suspense Alfred Hitchcock said, “Drama is life with the dull bits cut out.” And who does the cutting? Editors. Sifting...
Page turner
John Ford is cinema. Born in Portland, Maine, in 1894 — just as motion picture cameras were first being put to good use —...
