| Reviews of Netflix Films: Volume I, Issue 1: Spring 2016 Contributor(s): Faktorovich, Anna (Author) |
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ISBN: 153316908X ISBN-13: 9781533169082 Publisher: Createspace Independent Publishing Platform OUR PRICE: $9.50 Product Type: Paperback Published: May 2016 |
| Additional Information |
| BISAC Categories: - Performing Arts | Film - History & Criticism |
| Physical Information: 0.27" H x 5.98" W x 9.02" (0.39 lbs) 114 pages |
| Descriptions, Reviews, Etc. |
| Publisher Description: This first issue of Cinematic Codes Review includes three film studies essays. Richmond B. Adams writes about an alternative perspective on Canon Doyle's Sherlock Holmes. Trevor Seigler's essay focuses on Paris as Antoine Doinel saw it. Finally, Michael T. Smith discusses subversive sexuality in Stanley Kubrick's Dr. Strangelove. The Editor, Anna Faktorovich, contributes a series of reviews of pop, art, documentary, series and other films she has been watching on Netflix with screenshots to illustrate her points. There is also a review of Livide, a vampire horror film, by Jane M. Kubiesa. The last section includes drawings from a widely displayed artist, Allen Forrest. The Cinematic Codes Review will feature works in all visual genres, especially those with moving pictures, be they music videos, feature films, documentaries, photography, or just about any other mode or genre of art that does not fall into the realm of "literature," which will be the primary object of Anaphora's Pennsylvania Literary Journal. The other term in the name is "codes" and the intention here is to go beyond the simple summary or theme of the projects criticized in this journal's pages to the codes and meanings that are hidden beyond the superficial. The third component of the journal is a dedication to reviewing and criticizing the arts, as opposed to applauding and viewing them. A great review should help artists to make better art by pointing out flaws. There is no such thing as perfect art, as all art is still in its infancy, and the last couple of centuries have seen great leaps in its evolution. There is a long road ahead for art, and it's the critics' job to take it in the right direction. Artists are not children that need to be congratulated on their mistakes. They should see profits in honest negativity, and the downfall of creativity in false flattery. |