Hottoceame The Age of Commercialism

GamerTab That was an excellent one.

Maidexpl Entertaining from beginning to end, it maintains the spirit of the franchise while establishing it's own seal with a fun cast

Maleeha Vincent It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.

max-seitz-1990 La Antena is a beautifully crafted fairy tale that plays with the technical limitations of yesteryear's movies and uses this idea for telling the story of oppressed people, who are robbed of their speech. The strong symbolism, the rich scenes and the believable characters make a lasting impression on the viewer and make for memorable scenes, even though the plot isn't the strongest aspect of the movie.Overall 7/10 Full review on movie-discourse.blogspot.de

Rafiqfuad Yarahmadi Authorship and the film La AntenaBy: Rafiqfuad YarahmadiAuthorship in cinemaThe key directors of the French New Wave Jean Luc Godard, Francois Truffaut, Claude Chabrol, Eric Rohmer had been a filmed critic writing for the French cinema magazine Cahiers du Cinema. This was the first film journal to treat cinema as an art form and to discuss it in an academic way. In the early 1950s this group of critics developed an argument through a long series of articles, which became known as 'la politique des auteurs'. Taken up by American critics in the 1960s these ideas became known as the auteur theory or authorship theory. In their writings the critics argued that film was primarily a visual medium rather a literary one and that the director was the author of a film in the same way as a writer is the author of a novel. In one influential essay 'La Camera Stylo' (1954), Alexander Astruc argued that the film director 'writes' a film with the camera as if he was an artist with a paintbrush. Rather than film language being used for the adaptation of a script, it should be the visual language, which is most important. Therefore the director is the true author of a film because the visual language is the language of cinema; the script is literary, a different language entirely. Authorship in film is a subject of debate in theory of film since the Cahiers du Cinema critics in 1950s for the first time birthed author theory. They believed that films should reflect a director's personal vision. Some directors such as Akira Kurosawa and Alfred Hitchcock are famous for been authors of their movies. 'This doesn't mean that the directors is an expert at every job or dictates every thing. The director can represent tasks to trusted members of crew, and directors often work usually with certain actors, cinematographers, screenwriters, and editors'. (Film Art page 33)According to Francois Truffaut in an article that he published in Cahiers du Cinema in 1954, 'an expression of his own personality' an auteur converts the movie into something personal. The main version of French authorship theory was the impression of making a film different to the director by introducing ideas of his own into the characters and the story beyond what the story needed. According to Film History by David Bordwell and Kristin Thompson the idea of authorship engaged with the growing art film in 1950s and 1960s. The prestigious directors of the period started to write their own scripts, all followed distinctive themes and stylistic choices in film after film. Film festivals managed to honour the director as a main creator. Tati, Michelangelo Antonioni, and others become 'brand' names in a commercial context. In 1960s and 1970s, auteurism helped in creation of film studies. Film viewers made the idea of authorship a commonplace in the film culture. Most of film fans used term of auteurism as a kind of taste not just for film-art directors but they used also for Steven Spielberg, Brian De Palma and Oliver Stone who were Hollywood filmmakers. Something that we have to consider is that feature movies never been made by one person. A big crew such as producer, cinematographer, director, editor, and lots of ideas and days of hard work go into collaborating on a film production. We should know that only theory of authorship would not answer the questions for all movies. As we know the process of filmmaking, film often supports with a more collaborative style of authorship than other artistic media. Even there are some movies that been recognised for their writing or directing style but the true authorship lies in the intentionality of the collective that produced the final product. La AntenaLa antenna is a thriller movie directed by director/writer Estabin Sapir, stars of this movie are Vleria Bertuccelli, Alejandro Urdapilleta and Julieta Cardinali. This monochrome film was made in Argentina which the mostly is silent. I can clearly say that the theme of film is about media mind control. This film has got a comic vision and reminds me the Georges Melies's A Trip to the Moon, and the strange city in the film is remind me the film Metropolis by Fritz Lang. A dictator called Mr TV, in a timeless city has made all the citizens of the city speechless. The city is looks like the Fritz Lang's Metropolis and it is so similar to Expressionist movies with animated billboards, TV aerials and towers. The Voice, the only citizen who can speak, calms people who live in this city. We can't see her face and a hood masks her face. The Voice is forced to have a singing programme on Mr TV, s television. The only food that people in this city can get to eat is Mr TV.'s brand food. This behaviour remind us the dictatorship and totalitarianism in those countries that people hasn't have freedom of speech and the film shows swastika symbol several times. He is working on a device and wants to hypnotize his people to be able to control citizens and this is really similar factory scene in Modern Times movie by Charles Chaplin that the factory manager tries to control all workers by using CCTV. Bibliography:Continue => Part 2

TheFluffyKnight Some would argue that Argentinean director Esteban Sapir's La Antena is an exercise in anachronistic futility; that, while the silent films to which Sapir's pays homage were at the cutting edge of cinema when they were made, they are outdated today, leaving La Antena a meaningless oddity.I would disagree. Fervently. La Antena melds the conventions of the silent film with 21st century technology, making it the ultimate exercise in post-modern film-making.The film is set in the timeless "The City Without a Voice", so called because the citizens have been rendered speechless by Mr. TV, a dictator/media mogul with his hair painted on. The City resembles the titular one in Fritz Lang's seminal Metropolis (1927), perhaps 100 years before that film. It is all expressionist skyscrapers, TV aerials, and animated billboards.The citizens of the City are mollified by La Voz (The Voice), the only person with the gift of speech. Her face perpetually shrouded by a hood (kept on even when she is naked), La Voz is forced to sing on Mr. TV's television network. But when Mr. TV concocts a plan to steal the written word as well, La Voz and her eyeless son join forces with a renegade family in an attempt to return the freedom of speech to the people.La Antena is nothing but pure cinema. Burdening himself with the conventions of the silent film, Sapir has to rely upon images to tell his story. There is sound, most notably in the almost continuous score by Leo Sujatovich. It evokes the best of silent movie music, as well as ingenuously working itself into the film's diegesis, such as the beeping of car horns, or the rhythmic ra-ta-tat-tat of gunfire. And, underlying the whole film is a familiar whirring, as if it were being shown on an ancient projector.There is a fair amount of dialogue as well. But instead of using intertitles, Sapir has the characters' words appear in the frame. They are larger or smaller, filling the screen or hovering meekly in the air, depending on what is being said. Think a more imaginative version of the subtitles in Night Watch (2004).Thankfully, the words don't distract from the images. Which is very fortunate indeed, because La Antena boasts some of the most creative and original images we've seen in a long time, all captured by Cristian Cottet's sumptuous black-and-white photography. There are the expressionist cityscapes. The hooded singer and her eyeless son. There is the city's abandoned aerial, which looks like the decayed remains of some colossal spider. And there's the sinister Dr. Y, whose jabbering mouth is displayed on a television screen attached to his face.La Antena has been criticised for relying too much on its imagery, while skimping on the allegorical depth. But, again, I would disagree. It is true that the sudden appearance of a mind-control machine shaped like a swastika, or the eyeless boy seemingly crucified on a Star of David, feels out of place, a tad over the top in what is otherwise merely a well-crafted fairy tale.But the lack of overt symbols (the two previous examples aside) works in the film's favour. It allows us to make up our own minds: to decide whether to infer political meaning, to see La Antena as an allegory for fascism, the danger of capitalist monopolies, and the power and responsibility of the media; or to just take the film at face value, as a visually stunning adventure through a world simultaneously unique and familiar.The sacrifice of explicit depth in favour of unique imagery may seem like a compromise. But, really, when a film looks as good as this, it's hard to care. There is more imagination and artistry in every frame of La Antena than Hollywood can shake a derivative stick at. Evoking films almost 100 years old might be futile, but in doing so, Sapir may be showing us what is lacking in the films of today. He may be telling us that it is time for another artistic revolution. And he may be right.

delta_vega For those who appreciate the intersection of silent cinema and social commentary, this is a unique film. Part homage to German expressionism, part allegory, the film is replete with visual symbolism and an artistic style that rivals anything seen since the 1920's. Moreover, the attention to period detail and the visual composition of the scenes as an instrument for advancing the story is stunning. Aside from this, the plot offers an interesting commentary on the role of the media in society and its effect on social voice, perception, and opinion. In truth, it's not so much the silence that permeates the film as it is the loss of voice and the loss of words to communicate and express thought that inevitably follows. In sum, this film is something not often seen and, as the producer of the film said in the Q&A that followed, will leave you thinking about its meaning well into the next day.