Murnau's 4 Devils - Production Design Drawings

http://cinearchitecture.tumblr.com/post/127147462097/4-devils-f-w-murnau-1928-lost-film

http://cinearchitecture.tumblr.com/post/128907291512/part-ii-4-devils-f-w-murnau-1928-lost

From Sketch to the Screen: Patrizia von Brandenstein

http://cinearchitecture.tumblr.com/post/117760104187/from-sketch-to-the-scree-silkwood-mike-nichols

Film Architecture As Texture: Yoshinobu Nishioka

http://cinearchitecture.tumblr.com/post/116016591637/film-architecture-as-texture-yoshinobu-nishiokas

From Sketch to the Screen: Ken Adam's Citty Chitty Bang Bang

http://cinearchitecture.tumblr.com/post/114402930077/from-sketch-to-the-screen-ken-adams-set-design

Les herbes folles by Jacques Saulnier

Les herbes folles (Alain Resnais, 2009); Production design by Jacques Saulnier.

Jacques Saulnier's sketches for The Life of Riley

The Life of Riley

The Life of Riley, Alain Resnais' last film, is the sublimation of all the visual ideas Renais ever explored, from his photography to his fascination with Louis Feuillade, comic strip books and American musical. Set in the Yorkshire countryside, the story takes place in four homes with four gardens - mostly gardens. Yet, when Resnais found it too difficult to raise money for the film, he decided to make it in the only way he knew, turning the shortcomings into the film's most charming features.

That's why and how Jacques Saulnier, the production designer of the film, came up with the idea of making the sets just out of hanging painted screens, wide sheets of colour plastics, and painted backdrop of a sunset in England --  everything more theatrical than theater. The images below are Saulnier's illustrations and design ideas for his 19th and sadly the last collaboration with Resnais.

Stairs#15

Downhill (Alfred Hitchcock, 1927)

Erich Engel - Nanette (1940)

Sinfonía erótica (Jesús Franco.1980)

virgin among the living dead

 commissar accuses

 rainbow thief

London After Midnight

heaven can wait

L'étrange Madame X (Grémillon 1951)

night of the demon

the wise quacking duck

A Tribute to Jean d'Eaubonne

To read the article, click on the image

November Stairs

August Stairs

In descending order
Dracula (Tod Browning, 1931)
The Perfume of the Lady in Black (Francesco Barilli, 1974)
Capriccio all'Italiana (Mauro Bolognini, Mario Monicelli, Pier Paolo Pasolini, Steno, Pino Zac, Franco Rossi, 1968)
Célestine... bonne à tout faire (Jesús Franco, 1974)

Poetics of Space: Roeg's (In)Significance

Insignificance (Nicolas Roeg, 1985)

May Stairs

The Third Man

After a long interval, we will ascend and descend cinematic stairs again and will hide in the dark corners of the staircases which generate our dreams and nightmares. Another round of celebrating the most vital vertical element of the movies and their spaces. 

Previous posts include: Insane stairs, Sirk stairs, Stairways to hell, Stairs and mirrors, Reincarnation of stairs, High society stairs, Metaphysical stairs, Dialectical stairs, Capra stairs, Stairways to heaven, Poetics of space: stairs.

Space in Film (A Lecture)

من براي سه دورۀ نسبتاً طولاني و فشرده در مشهد تدريس سينما را با نتايجي مقبول آزمودم. بار اول براي سي جلسۀ سه ساعته تاريخ سينما را از آغاز تا دهه 1960 در موسسه‌اي به نام آگاه‌فيلم درس دادم كه تجربه‌اي بسيار آموزنده براي خودم بود، اگر چه از نظر مالي فقط مدخلي تازه در كتاب اشتباهات زندگي‌ام بود. بار دوم زبان سينما را در جلساتي دربارۀ نما، رنگ، نور، فضا، تدوين و بقيه عناصر سينمايي در ده جلسه براي يك موسسۀ زنان شروع كردم كه بالطبع بيش‌تر شركت‌كنندگان خانم‌ها بودند و نشان دادند چقدر بيش‌تر از مردها آمادۀ درك درست و منطقي زبان سينمايند. بار سوم و آخر، در همان موسسه زنان و با گروهي كمابيش متشكل از شركت‌كنندگان دورۀ قبل ژانرهاي سينمايي را در ده جلسه درس دادم.

اين نوار صوتي جلسه فضا و معماري در سينماست از دورۀ دوم. طول جلسه‌ها مثل هميشه سه ساعت است (كه هميشه بين پانزده دقيقه تا نيم ساعت طولاني‌تر از پيش‌بيني اوليه به درازا مي‌كشيد، بدون اين‌كه شركت‌كننده‌اي جلسه را ترك كند.) شيوۀ هميشگي‌ام، مقدمه‌اي به مدت حدود بيست دقيقه بود، بعد نشان دادن اسلايدها و بعد نمايش تكه‌هاي از فيلم‌ها. متأسفانه در اين فايل صوتي اسلايدها و فيلم‌ها وجود ندارند، اما از روي نامشان مي‌توانيد به نوعي فيلموگرافي دربارۀ آن موضوع دست پيدا كنيد، و چه بسا كه بسياري از فيلم‌هاي اشاره شده در اين جلسه را پيشاپيش ديده‌ايد.

بخش اول

بخش دوم

Favorite Non-Fiction Films of 2012

1
The Battle of the Ancre and the Advance of the Tanks (Geoffrey H. Malins, 1917)

The official record of the British army’s winter campaign on the Somme in 1916 sees the light of the screen in great restored print after 95 years. The images are so powerful, and the humanity of cameramen, in depicting foe and enemy alike, so moving that after this, the long row of soldiers of the Great War parading to the fields of mud and death in anything between All Quiet on the Western Front to Path of Glory look pale. There is no quiet and glory in this masterpiece of early documentary film.

2
The Rolling Stones – Charlie Is My Darling – Ireland '65 (Peter Whitehead, Mick Gochanour, 2012)

In spite of the controversy over The Rolling Stones’ overpriced tickets for the 50th anniversary concerts and the banality of the specially commissioned documentary, Crossfire Hurricane, this first rate rockumentary, in its truth-revealing, aggression and humor can only be compared to Don’t Look Back. While the official Crossfire Hurricane shows Stones in a sloppy collage of famous films we have already seen - without daring to include any explicit footage from the dark side of the band in Cocksucker Blues - this cine-vérité piece serves the purpose in explaining "How Stones" or "Why Stones: as a brilliant portrayal of five naïve people, growing fast and transitioning from blues covers to strong personal statements about sex and death.

3
Jerry and Me (Mehrnaz Saeed-Vafa, 2012)

Not only a master class on the art of Jerry Lewis, but a highly confessional autobiography of an Iranian-American woman who, adoringly, sees her life projected in the films of a Jewish American comedian.

4
Reconversão (Thom Andersen, 2012)

A pleasant portrait of the Portuguese architect, Eduardo Souto de Moura whose fascination with ruins and transforming them into modern buildings is the main theme of his works, as well as this film's. Anderson, deliberately, avoids interviewing Souto de Moura till nearly the end of the film, but, still, the Andersen’s autonomy and personal vision allows him to draw an accurate plan of the architect’s thoughts and methods without limiting the outcome to direct statement from Souto. At the end, and after 65 minutes of still shots from Souto’s architectural works, the film, nearly, implies that Souto is a passionate Mies van der Rohe who idolizes Miles Davis and Ahmad Jamal.

5
The Pervert's Guide to Ideology (Sophie Fiennes, 2012) + Room 237 (Rodney Ascher, 2012)

If you take them as comedies, you’ll find them hilariously enjoyable. If you take them as dramas, you’ll have a chance to see the dark side of film studies and cinephilia in the age of digital. In both cases, it’s difficult to stay unimpressed with the massive comedy potentials of Slavoj Žižek and also those who have found a new Messiah in Kubrick.

All Girls Are Called Niña

In 1946 a campy version of the Broken Blossoms (D. W. Griffith, 1919) provided the material for a number in Vincente Minnelli's The Ziegfeld Follies, in which a setting of a London Street, standing on one of the sound stages which had been used in The Picture of Dorian Gray, becomes the set for the new musical. [1]

Up to this point, Minnelli was constantly referring to cinema in his films, but from this particular number on, it seems as if he is taking the liberty in directly quoting other films. His next musical project, The Pirate (1948), is another homage, this time to the Swashbuckler films of silent cinema, or precisely, what Minnelli envisioned of Douglas Fairbanks gymnastics and John Barrymore canned ham.[2]

The Matter of Design

Southbank, London, April 2012. ©Ehsan Khoshbakht

Vincente Minnelli & the matter of design, today on MUBI's Notebook.

From Sketch to the Screen#1 [repost]

From Sketch to the Screen
Vincente Minnelli's Bells Are Ringing
on MUBI

Sketch to the Screen: And God Created Woman

Et Dieu... créa la femme (Roger Vadim, 1956). Production design by Jean André

Poetics of Space: Grilli

Lights in the Dusk (2006), Directed by Aki Kaurismäki, Cinematography by Timo Salminen

Caligari to Libeskind: A Documentary

از كاليگاري تا ليبسكيند 1 from Ehsan Khoshbakht on Vimeo.

مستند

از كاليگاري تا ليبسكيند

اين مستندي است كه دو زمستان پيش سرهم كردم. موضوع آن رابطۀ سينما و معماري و آلمان در دورۀ وايمار، يعني سال‌هاي 1920 و مشهور به دورۀ اكسپرسيونيستي هنر آلماني، است. من در اين فيلم هشتاد دقيقه‌اي ابتدا مروري كوتاه و فشرده ارائه كرده‌ام از ريشه‌هاي اكسپرسيونيزم و بعد فصل‌هاي مفصل‌تري به سينماي و معماري آلمان، روي كار آمدن هيتلر و مرگ هنر اكسپرسيونيستي، و هم‌زمان گسترش آن در بقيه نقاط جهان اختصاص دارد. در آخرين فصل فيلم، تأثير اين هنر بر دنياي امروز – بيش‌تر معماري – مورد توجه قرار گرفته است.

اين فيلم از هيچ ساخته شده و پولي در كار نبود تا بتوانم آن را بهتر از ايني كه هست بكنم. گفتار متن در كمد لباسم ضبط شده، و تدوين‌گر فيلم، رضا عباس‌زاده كه همكار من در پروژه‌هاي ديگري نيز بوده، براي كارش در اين فيلم نه تنها هيچ پولي از من نگرفته، بلكه ماه‌هاي زيادي را به كلنجار با آدم بدقلقي مثل من گذرانده است، و هميشه با صبر فراوان.

موسيقي‌هاي فيلم، قطعات جازي هستند كه لااقل در گوش من طنيني از هنر اكسپرسيونيستي دارند. گهگاه بين موسيقي و تصوير ارتباطي بيش‌تر از يك هماهنگي صوتي/بصري وجود دارد كه خود خواهيد ديد.

مي‌توانيد مستند از كاليگاري تا ليبسكيند را به صورت يك‌پارچه (هشتاد دقيقه) ببينيد، يا اگر سرعت اينترنتتان اجازه نمي‌دهد، نسخه‌اي از آن كه به بخش‌هاي ده دقيقه‌اي تقسيم شده را ملاحضه كنيد.

فيلم در هفت قسمت

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