David Bordwell, author of Ozu and the Poetics of Cinema, discusses some of the key themes and stylistic qualities that define Yasujiro Ozu's work and The Flavor of Green Tea Over Rice, in this interview for The Criterion Collection.
Film scholar David Bordwell discusses Ozu's 1959 color film Ohayo (Good Morning). He analyzes Ozu's use of color, composition, and his characteristic transitional shots. While some see this film as a remake of Ozu's 1932 silent I Was Born, But..., Bordwell believes the connection is not that simple, and contrasts elements of the two films, outlining Ozu's growth over his decades of work, and the variations he worked within his chosen limits.
In this 25-minute video essay, film scholar David Bordwell, co-author of "Film Art: An Introduction", conducts an analysis of Howard Hawks's "His Girl Friday" (1940), which he believes to be the apotheosis of classical Hollywood storytelling. Bordwell discusses the film's history and the status of Howard Hawks as an auteur before delving into a detailed analysis of various aspects of the film's narrative, dialogue, use of props, editing, and staging.
Analog celluloid strips are disappearing. Is film dying, or just changing? Are the world's film archives on the brink of a dark age? Renowned filmmakers, museum curators, historians, and engineers help dramatize the future of film and the cinema in the age of digital moving pictures.
David Bordwell was an American film theorist and film historian. After receiving his PhD from the University of Iowa in 1973, he wrote more than fifteen volumes on the subject of cinema including Narration in the Fiction Film (1985), Ozu and the Poetics of Cinema (1988), Making Meaning (1989), and On the History of Film Style (1997). With his wife Kristin Thompson, Bordwell wrote the textbooks Film Art (1979) and Film History (1994). Film Art, in its 12th edition as of 2019, is still used as a text in introductory film courses. His largest work was The Classical Hollywood Cinema: Film Style and Mode of Production to 1960 (1985), written in collaboration with Thompson and Janet Staiger.
By browsing this website, you accept our cookies policy.