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	<title>Cinema Scope &#187; Features</title>
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	<description>Expanding the Frame on International Cinema</description>
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		<title>Fire in Every Shot: Wang Bing’s Three Sisters</title>
		<link>http://cinema-scope.com/features/fire-in-every-shot-wang-bings-three-sisters/</link>
		<comments>http://cinema-scope.com/features/fire-in-every-shot-wang-bings-three-sisters/#comments</comments>
		<pubDate>Thu, 21 Mar 2013 04:37:37 +0000</pubDate>
		<dc:creator>Thom Andersen</dc:creator>
				<category><![CDATA[CS54]]></category>
		<category><![CDATA[Features]]></category>
		<category><![CDATA[From The Magazine]]></category>
		<category><![CDATA[Three Sisters]]></category>
		<category><![CDATA[Wang Bing]]></category>
		<category><![CDATA[Yunnan]]></category>

		<guid isPermaLink="false">http://cinema-scope.com/?p=7102</guid>
		<description><![CDATA[By Thom Andersen “Films have no interest unless one finds something that burns somewhere within the shot.”—Jean-Marie Straub, Cahiers du Cinéma, October 1984, p. 34 Wang Bing’s Three Sisters (2012) tells a simple story. Three sisters, aged four, six, and ten, live like orphans in Yunnan province, in the village of Xiyangtang (elevation: 3,500 feet; [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<title>One Horizontal, One Vertical: Some Preliminary Observations on Wong Kar-wai’s The Grandmaster</title>
		<link>http://cinema-scope.com/features/one-horizontal-one-vertical-some-preliminary-observations-on-wong-kar-wais-the-grandmaster/</link>
		<comments>http://cinema-scope.com/features/one-horizontal-one-vertical-some-preliminary-observations-on-wong-kar-wais-the-grandmaster/#comments</comments>
		<pubDate>Thu, 21 Mar 2013 04:31:46 +0000</pubDate>
		<dc:creator>Shelly Kraicer</dc:creator>
				<category><![CDATA[CS54]]></category>
		<category><![CDATA[Features]]></category>
		<category><![CDATA[From The Magazine]]></category>
		<category><![CDATA[Wong Kar-wai]]></category>

		<guid isPermaLink="false">http://cinema-scope.com/?p=7099</guid>
		<description><![CDATA[By Shelly Kraicer The good news about Wong Kar-wai’s new film is that, following the debacle that was My Blueberry Nights (2007), the good Wong is back. The Grandmaster not only banishes the (thankfully now easily forgotten) memory of Blueberry, but also manages to continue building on themes and forms from Wong’s previous films while [...]]]></description>
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		<slash:comments>2</slash:comments>
		</item>
		<item>
		<title>An Ursine Halfabet: Denis Côté’s Vic+Flo ont vu un ours</title>
		<link>http://cinema-scope.com/features/denis-cote-vic-flo/</link>
		<comments>http://cinema-scope.com/features/denis-cote-vic-flo/#comments</comments>
		<pubDate>Thu, 21 Mar 2013 04:26:06 +0000</pubDate>
		<dc:creator>Michael Sicinski</dc:creator>
				<category><![CDATA[CS54]]></category>
		<category><![CDATA[Features]]></category>
		<category><![CDATA[From The Magazine]]></category>

		<guid isPermaLink="false">http://cinema-scope.com/?p=7090</guid>
		<description><![CDATA[By Michael Sicinski In Denis Côté’s Bestiaire (2012), you might have really seen a bear. That’s because it took place in a zoo. As for his latest, au contraire; the grizzlies are not really there. The title’s both a metaphor and a clue: the phrasing, like a picture book, implies that we should take a [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
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		<title>Opening the Gates of Night: Jean-Claude Brisseau’s La fille du nulle part</title>
		<link>http://cinema-scope.com/features/opening-the-gates-of-night-jean-claude-brisseaus-la-fille-du-nulle-part/</link>
		<comments>http://cinema-scope.com/features/opening-the-gates-of-night-jean-claude-brisseaus-la-fille-du-nulle-part/#comments</comments>
		<pubDate>Sun, 16 Dec 2012 19:19:20 +0000</pubDate>
		<dc:creator>Boris Nelepo</dc:creator>
				<category><![CDATA[CS53]]></category>
		<category><![CDATA[Features]]></category>
		<category><![CDATA[From The Magazine]]></category>

		<guid isPermaLink="false">http://cinema-scope.com/?p=6800</guid>
		<description><![CDATA[By Boris Nelepo “I love to watch the stars. It’s one of those simple things that give me at least a remote idea of infinity along with some great poetry,” the ghost philosopher says in Jean-Claude Brisseau’s À l’aventure (2008), and Brisseau shares with his characters that same longing for the ineffable, as well as [...]]]></description>
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		<title>A Murderer Cannot Avoid Death: Thoughts on Manoel de Oliveira’s Gebo and the Shadow</title>
		<link>http://cinema-scope.com/features/a-murderer-cannot-avoid-death-thoughts-on-manoel-de-oliveiras-gebo-and-the-shadow/</link>
		<comments>http://cinema-scope.com/features/a-murderer-cannot-avoid-death-thoughts-on-manoel-de-oliveiras-gebo-and-the-shadow/#comments</comments>
		<pubDate>Sun, 16 Dec 2012 18:50:41 +0000</pubDate>
		<dc:creator>Francisco Ferreira</dc:creator>
				<category><![CDATA[CS53]]></category>
		<category><![CDATA[Features]]></category>
		<category><![CDATA[From The Magazine]]></category>

		<guid isPermaLink="false">http://cinema-scope.com/?p=6797</guid>
		<description><![CDATA[By Francisco Ferreira In an interview published in the Venice film festival press kit, Manoel de Oliveira tells the story of how he came to adapt the theatre play Gebo and the Shadow. A friend asked Oliveira why he hadn’t made a film about poverty during the current time of economic crisis. Oliveira replied that [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Role Models: The Films of Matías Piñeiro</title>
		<link>http://cinema-scope.com/features/role-models-the-films-of-matias-pineiro/</link>
		<comments>http://cinema-scope.com/features/role-models-the-films-of-matias-pineiro/#comments</comments>
		<pubDate>Tue, 11 Sep 2012 23:24:05 +0000</pubDate>
		<dc:creator>Quintin</dc:creator>
				<category><![CDATA[CS52]]></category>
		<category><![CDATA[Features]]></category>
		<category><![CDATA[From The Magazine]]></category>
		<category><![CDATA[Matías Piñeiro]]></category>
		<category><![CDATA[Viola]]></category>

		<guid isPermaLink="false">http://cinema-scope.com/?p=6408</guid>
		<description><![CDATA[Like most of his colleagues in recent Argentinean cinema, Matías Piñeiro is a graduate from the Universidad del Cine, and, like many of them, works outside the national funding system. Born in 1982 in Buenos Aires, Piñeiro, despite three features (El hombre robado, 2007; Todos mienten, 2009; Viola, 2012) and a 40-minute film commissioned for [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
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		<title>Burru’s Abominable Dialectic: Nicolas Rey’s autrement, la Molussie</title>
		<link>http://cinema-scope.com/features/burrus-abominable-dialectic-nicolas-reys-autrement-la-molussie/</link>
		<comments>http://cinema-scope.com/features/burrus-abominable-dialectic-nicolas-reys-autrement-la-molussie/#comments</comments>
		<pubDate>Tue, 11 Sep 2012 23:17:12 +0000</pubDate>
		<dc:creator>Michael Sicinski</dc:creator>
				<category><![CDATA[CS52]]></category>
		<category><![CDATA[Features]]></category>
		<category><![CDATA[From The Magazine]]></category>
		<category><![CDATA[Nicolas Rey]]></category>

		<guid isPermaLink="false">http://cinema-scope.com/?p=6403</guid>
		<description><![CDATA[In composing this essay on Nicolas Rey’s latest film, I have opted to follow a principle similar to the one that gives his film its overall shape. The essay consists of six semi-autonomous sections, which I have assigned an order using a random-number generating system. There were also additional sections that, according to the randomizing [...]]]></description>
		<wfw:commentRss>http://cinema-scope.com/features/burrus-abominable-dialectic-nicolas-reys-autrement-la-molussie/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Blood and Thunder: Enter the Leviathan</title>
		<link>http://cinema-scope.com/features/blood-and-thunder-enter-the-leviathan/</link>
		<comments>http://cinema-scope.com/features/blood-and-thunder-enter-the-leviathan/#comments</comments>
		<pubDate>Tue, 11 Sep 2012 23:10:12 +0000</pubDate>
		<dc:creator>Phil Coldiron</dc:creator>
				<category><![CDATA[CS52]]></category>
		<category><![CDATA[Features]]></category>
		<category><![CDATA[From The Magazine]]></category>
		<category><![CDATA[Leviathan]]></category>
		<category><![CDATA[Lucien Castaing-Taylor]]></category>
		<category><![CDATA[Véréna Paravel]]></category>

		<guid isPermaLink="false">http://cinema-scope.com/?p=6394</guid>
		<description><![CDATA[Let’s start with a coincidence. The title of Part I, Chap. 1 of Thomas Hobbes’ Leviathan: “Of Sense.” The name of the Harvard project headed by Lucien Castaing-Taylor, whose new film, made in collaboration with Véréna Paravel, shares a title with Hobbes’ seminal work of political philosophy: the Sensory Ethnography Lab. This isn’t to say [...]]]></description>
		<wfw:commentRss>http://cinema-scope.com/features/blood-and-thunder-enter-the-leviathan/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>This Is Not an Omnibus: The Jeonju Digital Project 2012</title>
		<link>http://cinema-scope.com/features/this-is-not-omnibus-the-jeonju-digital-project-2012/</link>
		<comments>http://cinema-scope.com/features/this-is-not-omnibus-the-jeonju-digital-project-2012/#comments</comments>
		<pubDate>Sun, 24 Jun 2012 21:13:52 +0000</pubDate>
		<dc:creator>Michael Sicinski</dc:creator>
				<category><![CDATA[CS51]]></category>
		<category><![CDATA[Features]]></category>
		<category><![CDATA[From The Magazine]]></category>
		<category><![CDATA[Jeonju Digital Project]]></category>
		<category><![CDATA[Michael Sicinski]]></category>

		<guid isPermaLink="false">http://cinema-scope.com/?p=5694</guid>
		<description><![CDATA[By Michael Sicinski Twelve years on, the Jeonju International Film Festival’s Digital Project is only getting stronger. This unique endeavour, whose history and raison d’être has been amply chronicled elsewhere (notably by James Bell in Sight &#38; Sound,), remains impossible to pin down. While the JDP has generally remained focused on Asian directors, the project [...]]]></description>
		<wfw:commentRss>http://cinema-scope.com/features/this-is-not-omnibus-the-jeonju-digital-project-2012/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>Eight Footnotes on a Brief Description of Footnotes to a House of Love, and Other Films by Laida Lertxundi</title>
		<link>http://cinema-scope.com/features/eight-footnotes-brief-description-footnotes-house-love-other-films-laida-lertxundi/</link>
		<comments>http://cinema-scope.com/features/eight-footnotes-brief-description-footnotes-house-love-other-films-laida-lertxundi/#comments</comments>
		<pubDate>Sun, 24 Jun 2012 21:09:33 +0000</pubDate>
		<dc:creator>Phil Coldiron</dc:creator>
				<category><![CDATA[CS51]]></category>
		<category><![CDATA[Features]]></category>
		<category><![CDATA[From The Magazine]]></category>
		<category><![CDATA[Footnotes to a House of Love]]></category>
		<category><![CDATA[Laida Lertxundi]]></category>

		<guid isPermaLink="false">http://cinema-scope.com/?p=5690</guid>
		<description><![CDATA[By Phil Coldiron …A group of young people1 in the California2 desert.3 A radio.4 A house that’s little more than the idea of a house.5 A woman6 crosses a room, passes by the camera,7 says, “You’re leaving me…”8 &#160; 1. What does it mean to make youth cinema in America today? While Hollywood aged parabolically [...]]]></description>
		<wfw:commentRss>http://cinema-scope.com/features/eight-footnotes-brief-description-footnotes-house-love-other-films-laida-lertxundi/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
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