
Short Film Saturday: Max Linder
Max in a Taxi (1917)
Max Wants a Divorce (1917)
Max in a Taxi (1917)
Max Wants a Divorce (1917)
Over the past year, postings on this site have been a bit sparse but one of the more significant ones was for the Things I Learned From the Movies Blogathon (just after National Coming Out Day 2016). It was my coming out on this blog, and those stories real and fictionalized matter. The short below has been released in the past year and made quite a big splash on fictionalized end.
The day matters not as a compulsory exercise but rather to raise awareness. Here’s an example of how a real-life coming out can have an impact on others (Yes, this means you need to read a long Instagram caption. #sorrynotsorry).
Happy National Coming Out Day!
It’s been a fairly long hiatus for posts on here (more on why that has been to follow). Today I happened to see a short I enjoyed and it’s Saturday, so I may as well bring back the Short Film Saturday theme.
It’s unrated but definitely NSFW, but tells a good tale of a vicious cycle of bullying. It also features Brendan Meyer whom I featured in my O, Canada! contribution this year.
The first obvious change in time during one piece of a motion picture is not an insignificant step at all but a crucial, necessary development in film grammar.
Many consider Uncle Josh to be not just the first protagonist of a film trilogy, but the first character on film period. Enjoy!
Titles at the beginning and end of a film were fairly common by this point. However, this film set a new precedent in the silent film art and added intertitles. They’re not the “best words” but they’re better than nothing.
The first ever tilt was a big one!
The reverse tracking shot is born.
The telescope effect on film precedes the binocular effect. Here it is introduced with a comedic design.
The first POV close-ups in film history. Naturally enough the technique is introduced in a short whose concept centers around this idea.