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Home Actor Martin Scorsese HD Photos and Wallpapers June 2020 Martin Scorsese Instagram - Repost from @thefilmfoundation_official • By Kent Jones This morning, I looked at a diagram on the 𝑻𝒉𝒆 𝑺𝒕𝒐𝒓𝒚 𝒐𝒇 𝑴𝒐𝒗𝒊𝒆𝒔’ website, an educational curriculum developed by TFF, offered at no charge, & used by teachers around the country. The concept of the diagram is simple: 3 circles represent Cinematic Reading, Narrative Reading & Historical/Cultural Reading respectively, & the areas where they converge. When the majority of people discuss a given movie, odds are they're speaking in terms of 1 of these. To read any film from the viewpoint of only 1 is to do it an injustice. It’s common to speak of documentaries solely in terms of what they’ve “documented,” but that begs the question: why are some great while others aren’t? Kopple’s Harlan County USA, included in the “American Laborer” module, is a stunning document of a bitter strike in KY mining country, but it’s also a great film with a powerful narrative drive. Preminger’s Advise and Consent, included in the developing “Politicians & Demagogues” module, is often spoken of in cinematic terms, but is also a juicy multi-character melodrama that becomes increasingly sensational & its wildest improbabilities are kept in check by a careful observance of behavior, decorum, clothing, movement & speech, rooted in a particular time & place. Every element intermingles with, buoys & sustains every other element & enrichs the greater whole. I was born in 1960 into a world that now seems as distant as the exoplanet Kepler 443-B is from earth. Cinema & network TV comprised the territory of motion pictures back then. Now, moving images come at us constantly, 150 characters is commonly considered writing & 300 words a tome, history is treated as a plaything & much suffering is tolerated. Literacy is crucial, verbal & visual. Literacy can’t be checked in a box nor downloaded. It can’t be purchased nor won. It can only be acquired, with the help of great teachers & programs. It’s what allows you to see, to separate the words & images that are there to be consumed, the ones that are meant to sell you something, ones that tell you lies & ones that are simply offered to you in a spirit of wonder & delight.

Martin Scorsese Instagram – Repost from @thefilmfoundation_official • By Kent Jones This morning, I looked at a diagram on the 𝑻𝒉𝒆 𝑺𝒕𝒐𝒓𝒚 𝒐𝒇 𝑴𝒐𝒗𝒊𝒆𝒔’ website, an educational curriculum developed by TFF, offered at no charge, & used by teachers around the country. The concept of the diagram is simple: 3 circles represent Cinematic Reading, Narrative Reading & Historical/Cultural Reading respectively, & the areas where they converge. When the majority of people discuss a given movie, odds are they’re speaking in terms of 1 of these. To read any film from the viewpoint of only 1 is to do it an injustice. It’s common to speak of documentaries solely in terms of what they’ve “documented,” but that begs the question: why are some great while others aren’t? Kopple’s Harlan County USA, included in the “American Laborer” module, is a stunning document of a bitter strike in KY mining country, but it’s also a great film with a powerful narrative drive. Preminger’s Advise and Consent, included in the developing “Politicians & Demagogues” module, is often spoken of in cinematic terms, but is also a juicy multi-character melodrama that becomes increasingly sensational & its wildest improbabilities are kept in check by a careful observance of behavior, decorum, clothing, movement & speech, rooted in a particular time & place. Every element intermingles with, buoys & sustains every other element & enrichs the greater whole. I was born in 1960 into a world that now seems as distant as the exoplanet Kepler 443-B is from earth. Cinema & network TV comprised the territory of motion pictures back then. Now, moving images come at us constantly, 150 characters is commonly considered writing & 300 words a tome, history is treated as a plaything & much suffering is tolerated. Literacy is crucial, verbal & visual. Literacy can’t be checked in a box nor downloaded. It can’t be purchased nor won. It can only be acquired, with the help of great teachers & programs. It’s what allows you to see, to separate the words & images that are there to be consumed, the ones that are meant to sell you something, ones that tell you lies & ones that are simply offered to you in a spirit of wonder & delight.

Martin Scorsese Instagram - Repost from @thefilmfoundation_official • By Kent Jones This morning, I looked at a diagram on the 𝑻𝒉𝒆 𝑺𝒕𝒐𝒓𝒚 𝒐𝒇 𝑴𝒐𝒗𝒊𝒆𝒔’ website, an educational curriculum developed by TFF, offered at no charge, & used by teachers around the country. The concept of the diagram is simple: 3 circles represent Cinematic Reading, Narrative Reading & Historical/Cultural Reading respectively, & the areas where they converge. When the majority of people discuss a given movie, odds are they're speaking in terms of 1 of these. To read any film from the viewpoint of only 1 is to do it an injustice. It’s common to speak of documentaries solely in terms of what they’ve “documented,” but that begs the question: why are some great while others aren’t? Kopple’s Harlan County USA, included in the “American Laborer” module, is a stunning document of a bitter strike in KY mining country, but it’s also a great film with a powerful narrative drive. Preminger’s Advise and Consent, included in the developing “Politicians & Demagogues” module, is often spoken of in cinematic terms, but is also a juicy multi-character melodrama that becomes increasingly sensational & its wildest improbabilities are kept in check by a careful observance of behavior, decorum, clothing, movement & speech, rooted in a particular time & place. Every element intermingles with, buoys & sustains every other element & enrichs the greater whole. I was born in 1960 into a world that now seems as distant as the exoplanet Kepler 443-B is from earth. Cinema & network TV comprised the territory of motion pictures back then. Now, moving images come at us constantly, 150 characters is commonly considered writing & 300 words a tome, history is treated as a plaything & much suffering is tolerated. Literacy is crucial, verbal & visual. Literacy can’t be checked in a box nor downloaded. It can’t be purchased nor won. It can only be acquired, with the help of great teachers & programs. It’s what allows you to see, to separate the words & images that are there to be consumed, the ones that are meant to sell you something, ones that tell you lies & ones that are simply offered to you in a spirit of wonder & delight.

Martin Scorsese Instagram – Repost from @thefilmfoundation_official
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By Kent Jones
This morning, I looked at a diagram on the 𝑻𝒉𝒆 𝑺𝒕𝒐𝒓𝒚 𝒐𝒇 𝑴𝒐𝒗𝒊𝒆𝒔’ website, an educational curriculum developed by TFF, offered at no charge, & used by teachers around the country. The concept of the diagram is simple: 3 circles represent Cinematic Reading, Narrative Reading & Historical/Cultural Reading respectively, & the areas where they converge.

When the majority of people discuss a given movie, odds are they’re speaking in terms of 1 of these. To read any film from the viewpoint of only 1 is to do it an injustice. It’s common to speak of documentaries solely in terms of what they’ve “documented,” but that begs the question: why are some great while others aren’t? Kopple’s Harlan County USA, included in the “American Laborer” module, is a stunning document of a bitter strike in KY mining country, but it’s also a great film with a powerful narrative drive. Preminger’s Advise and Consent, included in the developing “Politicians & Demagogues” module, is often spoken of in cinematic terms, but is also a juicy multi-character melodrama that becomes increasingly sensational & its wildest improbabilities are kept in check by a careful observance of behavior, decorum, clothing, movement & speech, rooted in a particular time & place. Every element intermingles with, buoys & sustains every other element & enrichs the greater whole.

I was born in 1960 into a world that now seems as distant as the exoplanet Kepler 443-B is from earth. Cinema & network TV comprised the territory of motion pictures back then. Now, moving images come at us constantly, 150 characters is commonly considered writing & 300 words a tome, history is treated as a plaything & much suffering is tolerated. Literacy is crucial, verbal & visual. Literacy can’t be checked in a box nor downloaded. It can’t be purchased nor won. It can only be acquired, with the help of great teachers & programs. It’s what allows you to see, to separate the words & images that are there to be consumed, the ones that are meant to sell you something, ones that tell you lies & ones that are simply offered to you in a spirit of wonder & delight. | Posted on 22/May/2020 01:45:03

Martin Scorsese Instagram – Repost from @thefilmfoundation_official • By Kent Jones I don’t remember the first Albert Lewin film I saw or how old I was when I saw it, but I was immediately entranced. I was taken with his literate and touchingly formal approach to moviemaking, his moving adherence to and belief in high culture and its trappings, his powerful sense of myth, his exacting production design, and his pull toward brooding and meditative quietude. He shared many of these qualities with Val Lewton. Both men had come out of the studio system and served as right-hand men to superstar production executives—Lewton worked for David O. Selznick, Lewin for Irving Thalberg—and both of them went in far more individualistic directions than their former mentors. And apart from the respective levels of their budgets and shooting schedules, there was one crucial difference. Lewton exerted a powerful and unmistakable influence on each of the films he produced, but he never directed. He preferred to stay in the background. Lewin also produced some truly beautiful films, but when he became a director, he declared himself as an artist. You can hide as a producer. But to quote David Fincher, if you think you can hide as a director, you’re nuts. The mythic undertones and overtones, the swooning romanticism, the idiosyncratic and occasionally awkward grammar and pacing—he unashamedly owned all of it. The Film Foundation has helped to facilitate the restorations of three films directed by Lewin—The Moon and Sixpence, The Private Affairs of Bel Ami, and his greatest, the hypnotic and throbbingly beautiful Pandora and the Flying Dutchman—in addition to So Ends Our Night, a lovely adaptation of Erich Maria Remarque’s Flotsam. I like to celebrate Lewin, because his films are very special to me, and because at this particular moment in our culture, when people are so cavalier about shutting the door on the past, they seem particularly fragile. To see the films of the past only through the lens of the present, as opposed to allowing every film to fully reveal itself and thereby illuminate the moment of its making, is a great sadness. Especially when it’s used as a means of marginalizing such soulful films.
Martin Scorsese Instagram – Repost from @thefilmfoundation_official • By Kent Jones This morning, I looked at a diagram on the 𝑻𝒉𝒆 𝑺𝒕𝒐𝒓𝒚 𝒐𝒇 𝑴𝒐𝒗𝒊𝒆𝒔’ website, an educational curriculum developed by TFF, offered at no charge, & used by teachers around the country. The concept of the diagram is simple: 3 circles represent Cinematic Reading, Narrative Reading & Historical/Cultural Reading respectively, & the areas where they converge. When the majority of people discuss a given movie, odds are they’re speaking in terms of 1 of these. To read any film from the viewpoint of only 1 is to do it an injustice. It’s common to speak of documentaries solely in terms of what they’ve “documented,” but that begs the question: why are some great while others aren’t? Kopple’s Harlan County USA, included in the “American Laborer” module, is a stunning document of a bitter strike in KY mining country, but it’s also a great film with a powerful narrative drive. Preminger’s Advise and Consent, included in the developing “Politicians & Demagogues” module, is often spoken of in cinematic terms, but is also a juicy multi-character melodrama that becomes increasingly sensational & its wildest improbabilities are kept in check by a careful observance of behavior, decorum, clothing, movement & speech, rooted in a particular time & place. Every element intermingles with, buoys & sustains every other element & enrichs the greater whole. I was born in 1960 into a world that now seems as distant as the exoplanet Kepler 443-B is from earth. Cinema & network TV comprised the territory of motion pictures back then. Now, moving images come at us constantly, 150 characters is commonly considered writing & 300 words a tome, history is treated as a plaything & much suffering is tolerated. Literacy is crucial, verbal & visual. Literacy can’t be checked in a box nor downloaded. It can’t be purchased nor won. It can only be acquired, with the help of great teachers & programs. It’s what allows you to see, to separate the words & images that are there to be consumed, the ones that are meant to sell you something, ones that tell you lies & ones that are simply offered to you in a spirit of wonder & delight.

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