Annie Kapur

In this chapter of ‘the filmmaker’s guide’ we’re actually going to be learning about literature and film together. I understand that many of you are sitting in university during difficult times and finding it increasingly hard to study and I understand that many of you who are not at university or not planning on it are possibly stuck of what to do, need a break or even need to catch up on learning film before you get to the next level. This guide will be brief but will also contain: new vocabulary, concepts and theories, films to watch and we will be exploring something taboo until now in the ‘filmmaker’s guide’ - academia (abyss opens). Each article will explore a different concept of film, philosophy, literature or bibliography/filmography etc. in order to give you something new to learn each time we see each other. You can use some of the words amongst family and friends to sound clever or you can get back to me (email in bio) and tell me how you’re doing. So, strap in and prepare for the filmmaker’s guide to film studies because it is going to be one wild ride.

Anais Nin, writer of "A Spy in the House of Love", met Henry Miller and his wife June and immediately became intensely involved with both of them. The book is a brilliant presentation of how love manipulates and moves, how it changes over time and how affection is different to obsession. But I think it is also important to think about the way in which it is written sometimes over-the-top and cannot really be comprehended too well. I would say that sometimes the writing can also be a bit annoying because there are far too many words that are not really saying anything. When I was going through to pick out the quotations, I was looking for ones that represented the writing style as something positive and not something that annoyed me slightly.

In this article, we will be looking at 2019’s book “1001 Movies to See Before You Die” and going through each film in a random order that I have chosen. We will be looking at what constitutes this film to be on the list and whether I think this film deserves to be here at all. I want to make perfectly clear that I won’t be revealing details from this book such as analyses by film reporters who have written about the film in question, so if you want the book itself you’ll have to buy it. But I will be covering the book’s suggestions on which films should be your top priority. I wouldn’t doubt for a second that everyone reading this article has probably watched many of these movies anyway. But we are just here to have a bit of fun. We’re going to not just look at whether it should be on this list but we’re also going to look at why the film has such a legacy at all. Remember, this is the 2019 version of the book and so, films like “Joker” will not be featured in this book and any film that came out in 2020 (and if we get there, in 2021). So strap in and if you have your own suggestions then don’t hesitate to email me using the address in my bio. Let’s get on with it then.

Penelope Lively’s books are always filled with one great thing and this book is no exception - this great thing is amazing and vivid descriptions of the surrounding area blended with atmospheric moods and different hues of emotion. Her writing is a brilliant way of analysing landscape in the modern era and how it is manipulated to suit a certain situation and mood. For example: in “Heat Wave” we get these images of a place called “World’s End” which is described as being almost altered by each and every movement of emotion in the book. When we learn about the weird affairs that are happening in the book we see the atmosphere around World’s End change with it and I think that this is the single greatest thing about the book. The descriptions are written with such character and fine wording it sounds like Penelope Lively chose each individual word to put in that quotation.

In this chapter of ‘the filmmaker’s guide’ we’re actually going to be learning about literature and film together. I understand that many of you are sitting in university during difficult times and finding it increasingly hard to study and I understand that many of you who are not at university or not planning on it are possibly stuck of what to do, need a break or even need to catch up on learning film before you get to the next level. This guide will be brief but will also contain: new vocabulary, concepts and theories, films to watch and we will be exploring something taboo until now in the ‘filmmaker’s guide’ - academia (abyss opens). Each article will explore a different concept of film, philosophy, literature or bibliography/filmography etc. in order to give you something new to learn each time we see each other. You can use some of the words amongst family and friends to sound clever or you can get back to me (email in bio) and tell me how you’re doing. So, strap in and prepare for the filmmaker’s guide to film studies because it is going to be one wild ride.

I have many unpopular opinions about film. In others, I have spoke about my discontent with the film "Titanic" and why I am against people who think Megan Fox is just 'a dumb [insert female slur here]'. I have spoken about various unpopular opinions about films that people normally view as universally amazing and I still have some that I want to roll off.