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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 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 • Elia Kazan was so mighty a force in American theatre, acting and cinema that it’s possible to feel and benefit from the effects of his work and his practice without even realizing it. He’s also known for his second appearance before the terror-inducing House Un-American Activities Committee in 1951, when he named the names of many of his fellow Group Theatre members. Any attempt to reduce or simplify the relationship between Kazan’s art and this action is ultimately doomed to failure, no matter what the intention or political motivation. It’s incontestable that the power of Kazan’s artistry and the thematic scope of his work intensified after his second HUAC appearance. But what seems truly remarkable now is the way that, in film after film and in a variety of forms, he meticulously and painstakingly dramatized the gut-wrenching feeling of being torn in two directions—as Kazan put it in his autobiography, “That’s what a difficult decision means: either way you go, you lose.” Wild River, with Montgomery Clift, Lee Remick and Jo Van Fleet, is not one of Kazan’s best-known movies, but it is one of his greatest, and it was beautifully restored by the team at Fox led by Schawn Belston—if you care about film restoration, you probably know his name already, and if you don’t, you need to. The outline of the film’s narrative is, at this moment, painfully relevant. Clift is the progressive government official who arrives in the rural south in the mid-1930s to remove people from land that has been in their family for generations, in order to complete the TVA dam project—he and his agency destroy ways of life in order to save actual lives from the slow-motion catastrophe of further flooding. There’s a special lyricism to Wild River that feels almost otherworldly, and it has some of the most emotionally and visually exquisite passages in all American cinema. And I think that Kazan achieved something absolutely unique: he gave dramatic and cinematic form to ambivalence, right up his film’s final heartbreaking image. By Kent Jones @ethandre #eliakazan #filmrestoration #movies #film #cinema

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