The film marks the highest-budget production in Iranian cinema to date.[3]

ultimately dissociation doesn't really happen it's um it's a model i think it's a an accurate a very useful model but the best way i can i can describe this is using the analogy of going to a 3d imax cinema

thunderbolt apple cinema 27” thunderbolt 2 monitor (the one with the lightning icon on the video plug, not the mini dvi box looking thing)

The Malayalam Cinema Today selection was disappointing. In a short essay published in the festival catalog, K. P. Jayakumar notes that Malayalam cinema is in the midst of a crisis brought on by globalization and by the influence of the Hollywood, Tamil, and Hindi film industries on the tastes of the local audience. Instead of following the path of other regional-language cinemas by projecting a valid representation of local identity, Malayalam cinema has so far settled for weakly imitative forms, according to Jayakumar. On the whole, the films in this section bore out this assessment. Even an above-average entry, veteran director T. V. Chandran’s oddly titled Beyond the Wail (Vilaapangalkkappuram), about a Muslim woman who flees from Gujarat to Kerala after the 2002 riots in her home state, suffers from the heavily obvious, over-slick style that dogs, more disastrously, Jayaraj’s Gulmohar and Madhupal’s Thalappavu (which both deal with the Naxalite struggles for land reforms in Kerala in the 1970s). M. Mohanan’s As the Story Unfolds… (Kadhaparayumpol) has some success with its light-comic approach to the problems of rural tradesmen (in particular, a poor village barber) in the face of modernization, but the film wastes its promise in torrents of crude sentimentality. Let’s hope that the best film in the section, Anjali Menon’s Lucky Red Seeds (Manjadikkuru), points to a larger renewal of Malayalam cinema and is not merely an isolated triumph by a gifted and intelligent first-time filmmaker. (Chris Fujiwara)

Roberts, B. (2006) ‘Cinema as Mnemotechnics’, Angelaki, 11 (1):55-63.

Humanist concerns about printing motivated one early appearance of the theme, in Erasmus’s famous digressive commentary on the adage festina lente (make haste slowly), first published in 1525: “Is there anywhere on earth exempt from these swarms of new books? Even if, taken out one at a time, they offered something worth knowing, the very mass of them would be a serious impedi-ment to learning from satiety if nothing else, which can do far more damage where good things are concerned or simply from the fact that men’s minds are easily glutted and hungry for something new, and so these distractions call them away from the reading of ancient authors.” Erasmus complained here about a flood of new books because these were of lesser value than ancient texts and dis-tracted readers from true learning. Erasmus blamed the flood of bad new books on printing.

there are no Altmanesque flourishes

the scene in which their characters wander through New York together was unscripted

cinéma expressionniste