Parallax View

An archive of Parallax View “Special Sections”

February-March, 2010 – Kathryn Bigelow has been making tough, rich, evocative movies for decades, too few in our estimation, and too often dismissed for the visceral, aggressive qualities that make them so compelling. Now, after leaving an unfulfilling relationship with Hollywood and going the independent route, she brought her uncompromising vision to the screen to the screen with The Hurt Locker, shopped it around films festivals and distributors, and took home the Oscar for Best Picture and Best Director: the first woman in the history of Oscar to do so. Join us as we celebrate this dark daughter of Hawks and Hitchcock: Kathryn Bigelow, one of the most provocative and visceral cinematic artists spinning stories on screen. Finally getting her recognition.

The Loveless Worlds of Kathryn Bigelow by Robert C. Cumbow
Black Arts by Kathleen Murphy
True Fiction: Kathryn Bigelow on The Hurt Locker – Interview by Sean Axmaker
The Way You Don’t Die: The Hurt Locker by Sean Axmaker

Related articles and reviews on other sites:
Bravo, Bigelow: Why Oscar Should Crown Kathryn Bigelow ‘Queen of Directors’ (Kathleen Murphy, MSN)
Hurt So Good (review of The Hurt Locker by Kathleen Murphy, MSN)
The Work of War, at a Fever Pitch (Manohla Dargis, New York Times)
How Oscar Found Ms. Right (Manohla Dargis, New York Times)
An Interview with Kathryn Bigelow (Robert Horton, Everett Herald)
Interview: Kathryn Bigelow (Scott Tobias, The Onion)
Kathryn Bigelow (Steven Shaviro, The Pinocchio Theory)
Georges Bataille and the Visceral Cinema of Kathryn Bigelow (Jeff Karnicky, Enculturation)
Strange Visions: Kathryn Bigelow’s Metafiction (Laura Rascaroli, Enculturation)
Kathryn Bigelow on Charlie Rose (video via LinkDrop today, Bigelow’s interview is about 30 minutes in)
Links to Scholarly Essays on Kathryn Bigelow (courtesy Catherine Grant at Film Studies for Free)

September 2009 – With two new films from Werner Herzog, Bad Lieutenant: Port of Call New Orleans (David Hudson collects the reviews at The Auteurs Daily here) and My Son, My Son, What Have Ye Done? (again, David Hudson rounds up responses at The Auteurs Daily here), at the 2009 Venice Film Festival and Toronto International Film Festival, Parallax View revisits his earlier films with new and archival essays and reviews.

On Staring Into the Camera: Aguirre and Bears by Robert Horton
Rescue Dawn: The Challenge of the Extraordinary by Robert C. Cumbow
Losing Focus: Three Herzog Shorts by David Coursen
Grizzly Man: The Overwhelming Indifference Of Nature by Sean Axmaker
Fitzcarraldo: The Idea Was a Bold One by Robert C. Cumbow
Stroszek by David Coursen
Heart of Glass by David Coursen
Land of Silence and Darkness: What It Means to be Human by David Coursen
Aguirre, The Wrath Of God: Extraordinary Images, Extraordinary Resonance by Ken Eisler
Aguirre, The Wrath of God: Defying the Natural Order by David Coursen
Signs of Life: Longing for a Rational, Ordered World by David Coursen
Offing the Pig: Even Dwarfs Started Small by Ken Eisler
Even Dwarfs Started Small: Persistence and Futility by David Coursen