About
Filmscalpel productions
Best practices
Filmscalpel Presents
Dossiers
Recommended Reading
Glossary
Resources
Contact
Search:
Questioning the Human Machine
The art of nonfiction
Stardust
Secret Gateways
Variation on the sunbeam
Museums on Film
Movies Are Mirrors
Lateral Character Movement
Capturing the Moment
Fear Itself
The Dark Galleries
Raising Cain Re-Cut
Don’t You Recognise Me?
Fembot in a Red Dress
Construction of a Heist
The History of the Future
Psychotronic Verite
Master of Suspense
Unflattening
Ghost In The Shell: Identity in Space
The Royal Road
Metalepses in Animation
Rear Window Timelapse
Lost in Translation / Her
Persona After and Before
Decasia
Man with a Movie Camera
Dissecting a Trailer
Indiana Jones 4 and the Echoes of the Past
Colour in Storytelling
Martin Scorsese – The Art of Silence
Souls at hazard
The Clock
Screenbooks
Beyond Bechdel: Testing Feminism in Film
Hell’s Club
The Periodic Table of Storytelling
Béla Tarr’s Repulsion
Transformers: The Premake
Nothing
Velvet Elephant
The Notes Behind ‘Network’
The Exorcist
Wes Ozu
Film Noir
Tim Burton: A German Expressionism Influence
The Unloved – The Assassination of Jesse James
Scorsese’s influences in Boogie Nights
Bergman’s Dreams
The Man Who Fell to Earth
All Changes Made to Star Wars
David Fincher – And the Other Way is Wrong
TV Takeover
First and Final Frames
Scorsese, 50 Years Later
Final Cut: Ladies and Gentlemen
Rohmer in Paris
The Ebb and Flow of Movies
Kubrick One-Point Perspective
Wes Anderson Centered
1
2
3
4
5
