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GIFaanisqatsi
Glass House
The Nightingale
The Asylum
The Bizarre Modern Reality of The Simpsons
7 Commandments of Film Editing
Kiss in Cinema
The Corridor
Runtime
How The Shawshank Redemption Humanizes Prisoners
Fairytales of Motion
Saul Bass’s Movie Posters
Why All Movies From 1999 Are The Same
The Problem Solving of Filmmaking
… so he starts singing
Lubezki: El personaje y el espacio
Knitted criticism
The Making of Migrant Mother
Ombre / Ingmar Bergman
A sorte dos danados
Visual Disturbances
Sinclair’s Soldiers in Trump’s War on Media
Melodramatic Railway Sounds
Concussion Protocol
Touch
The Overlook Hotel
Under Construction
The Grandmaster of Kung Fu Films: Lau Kar-leung
Jan Bot
The Pure Necessity
Variations on a scene
This Video Essay Was Not Built on an Ancient Indian Burial Ground
Abduction as Romance
Radio 1 Rescores Drive
Killing Klaus Kinski
Beyond Action
Zodiac: The Unofficial Reading List
Series of Dreams Interwoven by Ringing Bells
Evil Dead: Loving the Unnatural
Flânerie 2.0
Melville, Delon & Co
Clint Eastwood’s House of Horrors
Being the Boss
Inception – A Surrealist Tale
David Lynch – The Treachery of Language
All That Jazz: Fosse Time
Tramp The Dirt Down
Lego Movie
Shining360
Goodbye Uncanny Valley
Koyaanisqatsi and Its Complex Legacy
The universal language of film music
Every NYT Front Page
Star Tribute Videos
Zodiac and the digital cityscape
Opening choices in Notorious
Die Hard Editing Concepts
In Praise of Blur
Game of Thrones’ Dragon Battle
Dunkirk’s Shepard Tone
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