Oops, forgot: Taxi Driver, Scorcese 1976. >From an institutional point of view, I would imagine a course on cars in film >would be very popular – almost every exchange based product out of Hollywood >features a car in the obligatory chase sequence. But if it's a critical course >I would imagine that you would be looking at the breadth of >analogies/metaphors/faculties that a 'vehicle' represented (not imagined) can >function as/perform in relation to a time formed construct. The other stuff is >just a series of laughs and sips of nostalgic tea in a dark room – no one will >learn much from that. Good luck with it. P
Talking about great cars, very hard to forget the Citroën DS21: Le Samouraï, Jean-Pierre Melville, Fr., 1967. P Hollywood commercial stuff: Vanishing Point, 1971 (great car) Seated Figures – Michael Snow, Cdn., 1988. P Fergus Walking (part 2 in the 3 part Autumn Scenes) – William Raban, UK (not US), 1978. P And Death Race 2000. On Fri, Dec 14, 2012 at 5:36 PM, Fred Camper <f...@fredcamper.com<mailto:f...@fredcamper.com>> wrote: Quoting Bryan Konefsky <bkonef...@gmail.com<mailto:bkonef...@gmail.com>>: > Hello Frameworkers - I am in the early moments of developing a critical > studies course that looks at different ways the automobile has been > imagined in cinema. To this end I'd love to hear from ya'll with titles of > films that you think might be useful to explore/expand this idea and > readings that might also dovetail themes that might be explored. Transparency (Ernie Gehr) Kustom Kar Kommandos (Kenneth Anger) Rebel Without a Cause (Nicholas Ray) Kiss Me Deadly (Robert Aldrich) Two Lane Blacktop (Monte Hellman) Fred Camper Chicago _______________________________________________ FrameWorks mailing list FrameWorks@jonasmekasfilms.com<mailto:FrameWorks@jonasmekasfilms.com> https://mailman-mail5.webfaction.com/listinfo/frameworks
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