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	<title>Parallax View &#187; Guest Contributor</title>
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	<link>http://parallax-view.org</link>
	<description>Smart Words About Cinema</description>
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		<title>Review: Willy Wonka and the Chocolate Factory</title>
		<link>http://parallax-view.org/2012/04/18/review-willy-wonka-and-the-chocolate-factory/</link>
		<comments>http://parallax-view.org/2012/04/18/review-willy-wonka-and-the-chocolate-factory/#comments</comments>
		<pubDate>Wed, 18 Apr 2012 18:45:27 +0000</pubDate>
		<dc:creator>guest</dc:creator>
				<category><![CDATA[Film Reviews]]></category>
		<category><![CDATA[Guest Contributor]]></category>
		<category><![CDATA[Anthony Newley]]></category>
		<category><![CDATA[Charlie and the Chocolate Factory]]></category>
		<category><![CDATA[David Battley]]></category>
		<category><![CDATA[Denise Nickerson]]></category>
		<category><![CDATA[Dodo Denney]]></category>
		<category><![CDATA[Gene Wilder]]></category>
		<category><![CDATA[Gunter Meissner]]></category>
		<category><![CDATA[Jack Albertson]]></category>
		<category><![CDATA[Julie Dawn Cole]]></category>
		<category><![CDATA[Leonard Stone]]></category>
		<category><![CDATA[Leslie Bricusse]]></category>
		<category><![CDATA[Mel Stuart]]></category>
		<category><![CDATA[Michael Bollner]]></category>
		<category><![CDATA[Movietone News 50]]></category>
		<category><![CDATA[Paris Themmen]]></category>
		<category><![CDATA[Peter Ostrum]]></category>
		<category><![CDATA[Roald Dahl]]></category>
		<category><![CDATA[Roy Kinnear]]></category>
		<category><![CDATA[Ursula Reit]]></category>
		<category><![CDATA[Willy Wonka and the Chocolate Factory]]></category>

		<guid isPermaLink="false">http://parallax-view.org/?p=10794</guid>
		<description><![CDATA[[Originally published in Movietone News 50, June 1976] by Ken Eisler It just so happens that I was one of that lonely number who actually liked Mel Stuart&#8217;s One Is a Lonely Number some five years back. Couple of Sundays ago I caught up with Stuart&#8217;s children&#8217;s-pic Willy Wonka and the Chocolate Factory, made at [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Review: Matatabi</title>
		<link>http://parallax-view.org/2011/12/06/review-matatabi/</link>
		<comments>http://parallax-view.org/2011/12/06/review-matatabi/#comments</comments>
		<pubDate>Tue, 06 Dec 2011 17:28:35 +0000</pubDate>
		<dc:creator>Movietone News contributor</dc:creator>
				<category><![CDATA[Film Reviews]]></category>
		<category><![CDATA[Guest Contributor]]></category>
		<category><![CDATA[Ichiro Ogura]]></category>
		<category><![CDATA[Isao Bito]]></category>
		<category><![CDATA[Ken Eisler]]></category>
		<category><![CDATA[Ken'ichi Hagiwara]]></category>
		<category><![CDATA[Kon Ichikawa]]></category>
		<category><![CDATA[Matatabi]]></category>
		<category><![CDATA[Movietone News 51]]></category>
		<category><![CDATA[Reiko Inoue]]></category>
		<category><![CDATA[Shuntaru Tanigawa]]></category>
		<category><![CDATA[The Wanderers]]></category>

		<guid isPermaLink="false">http://parallax-view.org/?p=9844</guid>
		<description><![CDATA[[Originally published in Movietone News 51, August 1976] by Ken Eisler I felt a funny kind of letdown when The Wanderers ended, and it took me awhile to figure out why. There&#8217;s certainly nothing wrong with the ending. After a fight, the film&#8217;s young protagonist Genta slips and tumbles down a long steep bank: a [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
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		<title>Review: Tenant</title>
		<link>http://parallax-view.org/2011/11/15/review-tenant/</link>
		<comments>http://parallax-view.org/2011/11/15/review-tenant/#comments</comments>
		<pubDate>Tue, 15 Nov 2011 22:58:11 +0000</pubDate>
		<dc:creator>Movietone News contributor</dc:creator>
				<category><![CDATA[Film Reviews]]></category>
		<category><![CDATA[Guest Contributor]]></category>
		<category><![CDATA[Roman Polanski]]></category>
		<category><![CDATA[Bernard Fresson]]></category>
		<category><![CDATA[Claude Dauphin]]></category>
		<category><![CDATA[Gérard Brach]]></category>
		<category><![CDATA[Isabelle Adjani]]></category>
		<category><![CDATA[Jo Van Fleet]]></category>
		<category><![CDATA[Lila Kedrova]]></category>
		<category><![CDATA[Melvyn Douglas]]></category>
		<category><![CDATA[Movietone News 52]]></category>
		<category><![CDATA[Rufus]]></category>
		<category><![CDATA[Shelley Winters]]></category>
		<category><![CDATA[Sven Nykvist]]></category>
		<category><![CDATA[Tenant]]></category>

		<guid isPermaLink="false">http://parallax-view.org/?p=9365</guid>
		<description><![CDATA[By Norman Hale [Originally published in Movietone News 52, October 1976] Art thou not, fatal vision, sensible To feeling as to sight? or art thou but A dagger of the mind, a false creation Proceeding from the heat-oppressed brain? —Macbeth In The Tenant Roman Polanski explores again the psychic terrain of guilt, dread, paranoia, fears [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Screening Los Angeles: An Interview with Thom Andersen</title>
		<link>http://parallax-view.org/2011/03/24/screening-los-angeles-an-interview-with-thom-andersen/</link>
		<comments>http://parallax-view.org/2011/03/24/screening-los-angeles-an-interview-with-thom-andersen/#comments</comments>
		<pubDate>Thu, 24 Mar 2011 14:33:33 +0000</pubDate>
		<dc:creator>guest</dc:creator>
				<category><![CDATA[Documentary]]></category>
		<category><![CDATA[Guest Contributor]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Los Angeles Plays Itself]]></category>
		<category><![CDATA[Thom Andersen]]></category>

		<guid isPermaLink="false">http://parallax-view.org/?p=7739</guid>
		<description><![CDATA[By E. Steven Fried One of the great pleasures of SIFF 2004 was the opportunity to see Thom Andersen’s 169- minute video essay, Los Angeles Plays Itself. Utilizing hundreds of unauthorized clips of obscure and well-known films [you will never see this on DVD] Andersen poses the question:why is the most filmed city in the [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>Houses, Phones and Cars: Domestic Spaces in Max Ophuls&#8217; &#8220;The Reckless Moment&#8221;</title>
		<link>http://parallax-view.org/2010/08/09/houses-phones-and-cars-domestic-spaces-in-max-ophuls-the-reckless-moment/</link>
		<comments>http://parallax-view.org/2010/08/09/houses-phones-and-cars-domestic-spaces-in-max-ophuls-the-reckless-moment/#comments</comments>
		<pubDate>Mon, 09 Aug 2010 16:51:12 +0000</pubDate>
		<dc:creator>Movietone News contributor</dc:creator>
				<category><![CDATA[Essays]]></category>
		<category><![CDATA[Film Noir]]></category>
		<category><![CDATA[Guest Contributor]]></category>
		<category><![CDATA[Max Ophuls]]></category>
		<category><![CDATA[Melodrama]]></category>
		<category><![CDATA[James Mason]]></category>
		<category><![CDATA[Joan Bennett]]></category>
		<category><![CDATA[Movietone News 58-59]]></category>
		<category><![CDATA[The Reckless Moment]]></category>

		<guid isPermaLink="false">http://parallax-view.org/?p=5688</guid>
		<description><![CDATA[By Norman Hale [Originally published in Movietone News 58-59, August 1978] Max Ophuls, the great European film director, once observed in conversation with a friend that different love relationships are expressed by different tokens: traditionally a man gives fresh-cut flowers to his mistress, but a potted plant to his wife.* Social rituals with their attendant [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Getting What You Need: Changing Surrealist Vision in Luis Bunuel&#8217;s &#8220;Un Chien Andalou,&#8221; &#8220;Discreet Charm Of The Bourgeoisie,&#8221; and &#8220;That Obscure Object Of Desire&#8221;</title>
		<link>http://parallax-view.org/2010/07/26/getting-what-you-need-luis-bunuels-un-chien-andalou-discreet-charm-of-the-bourgeoisie-and-that-obscure-object-of-desire/</link>
		<comments>http://parallax-view.org/2010/07/26/getting-what-you-need-luis-bunuels-un-chien-andalou-discreet-charm-of-the-bourgeoisie-and-that-obscure-object-of-desire/#comments</comments>
		<pubDate>Mon, 26 Jul 2010 18:14:33 +0000</pubDate>
		<dc:creator>Movietone News contributor</dc:creator>
				<category><![CDATA[Essays]]></category>
		<category><![CDATA[Guest Contributor]]></category>
		<category><![CDATA[Luis Bunuel]]></category>
		<category><![CDATA[Movietone News 58-59]]></category>
		<category><![CDATA[That Obscure Object of Desir]]></category>
		<category><![CDATA[The Discreet Charm of the Bourgeoisie]]></category>
		<category><![CDATA[Un Chien Andalou]]></category>

		<guid isPermaLink="false">http://parallax-view.org/?p=5622</guid>
		<description><![CDATA[[Originally published in Movietone News 58-59, August 1978] by Julie Ahrens Seeing ants crawl from a hole in a man&#8217;s hand, we don&#8217;t need to ask, &#8220;Is it a dream or is it real?&#8221; It&#8217;s surreal. That one creepy, iconic image is the essence of surrealism. In 1928 Luis Buñuel, the man with the razor, [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
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		<title>Review: Coup pour coup</title>
		<link>http://parallax-view.org/2010/07/14/review-coup-pour-coup/</link>
		<comments>http://parallax-view.org/2010/07/14/review-coup-pour-coup/#comments</comments>
		<pubDate>Thu, 15 Jul 2010 01:51:54 +0000</pubDate>
		<dc:creator>Movietone News contributor</dc:creator>
				<category><![CDATA[Film Reviews]]></category>
		<category><![CDATA[Guest Contributor]]></category>
		<category><![CDATA[Coup pour coup]]></category>
		<category><![CDATA[Marin Karmitz]]></category>
		<category><![CDATA[Movietone News 58-59]]></category>

		<guid isPermaLink="false">http://parallax-view.org/?p=5542</guid>
		<description><![CDATA[[Originally published in Movietone News 58-59, August, 1978] Ken Eisler was a friend of MOVIETONE NEWS from the spring of 1973, when he dropped down from his Vancouver, B.C. home for a few days and happened on some back issues while browsing in a Capitol Hill bookstore. He wrote us a flattering note (MTN 24), [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>Aguirre, The Wrath Of God: Extraordinary Images, Extraordinary Resonance</title>
		<link>http://parallax-view.org/2009/09/01/aguirre-the-wrath-of-god-extraordinary-images-extraordinary-resonance/</link>
		<comments>http://parallax-view.org/2009/09/01/aguirre-the-wrath-of-god-extraordinary-images-extraordinary-resonance/#comments</comments>
		<pubDate>Tue, 01 Sep 2009 14:34:58 +0000</pubDate>
		<dc:creator>Movietone News contributor</dc:creator>
				<category><![CDATA[Essays]]></category>
		<category><![CDATA[Guest Contributor]]></category>
		<category><![CDATA[Werner Herzog]]></category>
		<category><![CDATA[Aguirre The Wrath of God]]></category>
		<category><![CDATA[Movietone News 29]]></category>
		<category><![CDATA[Movietone News 62-63]]></category>

		<guid isPermaLink="false">http://parallax-view.org/?p=2818</guid>
		<description><![CDATA[By Ken Eisler [Originally published in Movietone News 29, January-February 1971, reprinted in Movietone News 62-63, December 1979] We were looking at a back number of the magazine for quite another reason and happened on this piece by the late Ken Eisler. It was written at a time when most of us had heard little [...]]]></description>
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		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>Offing the Pig: Even Dwarfs Started Small</title>
		<link>http://parallax-view.org/2009/08/30/offing-the-pig-even-dwarfs-started-small/</link>
		<comments>http://parallax-view.org/2009/08/30/offing-the-pig-even-dwarfs-started-small/#comments</comments>
		<pubDate>Mon, 31 Aug 2009 05:11:27 +0000</pubDate>
		<dc:creator>Movietone News contributor</dc:creator>
				<category><![CDATA[Essays]]></category>
		<category><![CDATA[Guest Contributor]]></category>
		<category><![CDATA[Werner Herzog]]></category>
		<category><![CDATA[Even Dwarfs Started Small]]></category>
		<category><![CDATA[Movietone News 36]]></category>

		<guid isPermaLink="false">http://parallax-view.org/?p=2813</guid>
		<description><![CDATA[By Ken Eisler [Originally published in Movietone News 36, October 1974] It&#8217;s easy to see how Werner Herzog&#8217;s third feature might have provoked cries of &#8220;Reaction!&#8221; from students and other militants. The film&#8217;s rebellion of dwarfs against a callous but mealy-mouthed reform school administration certainly &#8220;starts small&#8221;; it barely gets one cubit off the ground, [...]]]></description>
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		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>Ramin Bahrani&#8217;s Chop Shop: &#8220;It&#8217;s Alive!&#8221;</title>
		<link>http://parallax-view.org/2009/04/28/ramin-bahranis-chop-shop-its-alive/</link>
		<comments>http://parallax-view.org/2009/04/28/ramin-bahranis-chop-shop-its-alive/#comments</comments>
		<pubDate>Tue, 28 Apr 2009 18:40:02 +0000</pubDate>
		<dc:creator>guest</dc:creator>
				<category><![CDATA[Essays]]></category>
		<category><![CDATA[Film Reviews]]></category>
		<category><![CDATA[Guest Contributor]]></category>
		<category><![CDATA[Chop Shop]]></category>
		<category><![CDATA[Man Push Cart]]></category>
		<category><![CDATA[Ramin Bahrani]]></category>

		<guid isPermaLink="false">http://parallax-view.org/?p=2189</guid>
		<description><![CDATA[[ed. note: Director Ramin Bahrani arrives in Seattle to conduct a "Master Class" workshop for Northwest Film Forum on Tuesday, April 28. On Wednesday, April 29, Bahrani will introduce a special screening of his new film, Goodbye Solo, with a Q&#38;A to follow, also at NWFF. To mark the occasion, Jim Emerson has allowed us [...]]]></description>
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		<slash:comments>0</slash:comments>
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