LogoLogoLogoLogoLogoLogo
  • 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