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kottke.org posts about Thomas Flight

In Praise of Comfort Films

In his latest video essay, Thomas Flight praises the comfort film and shares some examples (The Big Lebowski, Perfect Days, Mon Oncle, Kiki’s Delivery Service, Moonrise Kingdom) from a few different types.

We want high stakes to make things interesting. But if you’re constantly being bombarded by conflict in your real life or the other media you’re consuming, it might be nice to spend some time with a story that takes a step back from high-stakes conflict as the primary narrative driving force.

I don’t know about you, but I am watching, reading, and listening to a looot of comfort media lately. (And by “lately”, I mean the past 8-10 years. ๐Ÿซ ) I felt this bit deeply:

There’s a point at which we can become trapped in chronic nervous system distress because of the media we’re consuming. Our brains are hardwired to scan our environment for potential dangers or problems. The media you consume can then end up releasing cortisol, raising your blood pressure, elevating your heart rate, inducing stress. And when we have access to this media in our pockets all the time, it means that places in our lives that may have typically been felt as a safe haven in the past, like maybe our living room or our bedroom, are now often the places where we’re really intensely and intimately consuming some of the most distressing media that we ever consume.

What are your favorite comfort movies? Any non-obvious ones? (E.g. I watch disaster movies as comfort films. The Day After Tomorrow, 2012, The Core, Deep Impact.)

Reply ยท 38

Why Do Wes Anderson Movies Look Like That?

Love it or hate it, we all know what Wes Anderson movies look like by now โ€” the vibrant color palette, use of symmetry, lateral tracking shots, slow motion, etc. etc. In this video, Thomas Flight explores why Anderson uses these stylistic elements to tell affective and entertaining stories.

But what is at the core of those individual stylistic decisions? Why does Anderson choose those things? Why do all those things seem to form a very specific unified whole? And what function, if any, do they serve in telling the kinds of stories Wes wants to tell?

The sources for the video are listed in the description; one I particularly enjoyed was David Bordwell writing about planimetric composition. (via open culture)