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	<title>Comments on: Hell Is Other People (Whaley, 2009)</title>
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	<link>http://www.filmwell.org/2009/10/08/hell-is-other-people-whaley-2009/</link>
	<description>Is This a Film Blog?</description>
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		<title>By: Favorite Films from 2009 &#124; Filmwell</title>
		<link>http://www.filmwell.org/2009/10/08/hell-is-other-people-whaley-2009/comment-page-1/#comment-1437</link>
		<dc:creator>Favorite Films from 2009 &#124; Filmwell</dc:creator>
		<pubDate>Thu, 21 Jan 2010 23:43:30 +0000</pubDate>
		<guid isPermaLink="false">http://www.filmwell.org/?p=4168#comment-1437</guid>
		<description>[...] Around the Bay Hell is Other People Game of the Year Notes on Marie [...]</description>
		<content:encoded><![CDATA[<p>[...] Around the Bay Hell is Other People Game of the Year Notes on Marie [...]</p>
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		<title>By: Anders</title>
		<link>http://www.filmwell.org/2009/10/08/hell-is-other-people-whaley-2009/comment-page-1/#comment-915</link>
		<dc:creator>Anders</dc:creator>
		<pubDate>Sun, 11 Oct 2009 06:59:50 +0000</pubDate>
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		<description>My brother suggested Malick as a director who is favours &quot;formal rigor&quot; and &quot;transcendental pacing&quot; and yet whose films are entirely constructed as an exercise in editing, voice over, and the montage.  The meaning and connections only take place through Malick&#039;s act of creation.  This is even more interesting considering what we know of Malick&#039;s process.</description>
		<content:encoded><![CDATA[<p>My brother suggested Malick as a director who is favours &#8220;formal rigor&#8221; and &#8220;transcendental pacing&#8221; and yet whose films are entirely constructed as an exercise in editing, voice over, and the montage.  The meaning and connections only take place through Malick&#8217;s act of creation.  This is even more interesting considering what we know of Malick&#8217;s process.</p>
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		<title>By: M. Leary</title>
		<link>http://www.filmwell.org/2009/10/08/hell-is-other-people-whaley-2009/comment-page-1/#comment-914</link>
		<dc:creator>M. Leary</dc:creator>
		<pubDate>Sun, 11 Oct 2009 00:25:08 +0000</pubDate>
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		<description>&quot;Film is made of the connections we make through the act of creation and this might be the line to connect that “transcendental pacing” rigor to Eisenstein’s basic theories of montage.&quot;

This is a great comment, and I am now trying to think of films that demonstrate this direction in thinking. Perhaps it is why I like Denis so much?</description>
		<content:encoded><![CDATA[<p>&#8220;Film is made of the connections we make through the act of creation and this might be the line to connect that “transcendental pacing” rigor to Eisenstein’s basic theories of montage.&#8221;</p>
<p>This is a great comment, and I am now trying to think of films that demonstrate this direction in thinking. Perhaps it is why I like Denis so much?</p>
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		<title>By: Anders</title>
		<link>http://www.filmwell.org/2009/10/08/hell-is-other-people-whaley-2009/comment-page-1/#comment-908</link>
		<dc:creator>Anders</dc:creator>
		<pubDate>Sat, 10 Oct 2009 14:03:29 +0000</pubDate>
		<guid isPermaLink="false">http://www.filmwell.org/?p=4168#comment-908</guid>
		<description>Very interesting review of a film I hadn&#039;t heard of.  

Definitely some food for thought regarding what I&#039;ve been sorting out recently, especially your comment that Morty is &quot;connected whether he knows it or not.&quot;  Of course he&#039;s connected; through the work of the director and editor.  Film is made of the connections we make through the act of creation and this might be the line to connect that &quot;transcendental pacing&quot; rigor to Eisenstein&#039;s basic theories of montage.</description>
		<content:encoded><![CDATA[<p>Very interesting review of a film I hadn&#8217;t heard of.  </p>
<p>Definitely some food for thought regarding what I&#8217;ve been sorting out recently, especially your comment that Morty is &#8220;connected whether he knows it or not.&#8221;  Of course he&#8217;s connected; through the work of the director and editor.  Film is made of the connections we make through the act of creation and this might be the line to connect that &#8220;transcendental pacing&#8221; rigor to Eisenstein&#8217;s basic theories of montage.</p>
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