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The Cine Skinny is your indispensable guide to all things GFF. We’ll be keeping you up to date with all the gossip from filmmakers and audiences (but don’t go expecting scandal), offering our recommendations on what to see and the best places to be, and provide you with all you’ll need to know about the strands, screenings and soirees of the Glasgow Film Festival. The Skinny is recognised as Scotland’s leading free culture and listings publication. Enjoy!
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THE OFFICIALDAILY GUIDESATURDAY 19 FEBRUARY
WHAT’S INSIDE?
GFF BOX OFFICEOrder tickets from the box office atwww.glasgowfilmfestival.org.uk
or call0141 332 6535
or visitGlasgow Film Theatre12 Rose Street, Glasgow, G3 6RB
2 » PICKS OF THE DAYHighlights of day three at GFF 2011
2 » FEATURE: 65DAYSOFSTATIC The Sheffield band discuss rescoring Silent Running
3 » REVIEWSApneaConfessions of a Dog
Norwegian Wood
4 » WHAT’S NEW ONLINEThe latest news, comments and pictures from the festival
4 » COMPETITIONSWin tickets to see Ola Si-monsson’s Sound of Noise by answering one simple question courtesy of the lovely people over atQuotables
Produced by The Skinny magazine in association with the Glasgow Film Festival
Editors Jamie Dunn Becky BartlettDesigner Mark Tolson
SPONSORS
A NEW DIMENSIONWith an ever increasing number of 3D FILMS due for release, HELEN WRIGHT discusses its ability to enhance artistic expression
There are various unimagina-tive, practical minded reasons for disparaging 3D but, rather than wasting time listing them, it is worth remembering that 3D film is an ar-tistic medium. In this sense, it is no different from sound, lighting, co-lour, editing, mise en scène, close-ups, long takes, jump cuts, CGI, oil, watercolour, fresco, gouache, pen, pencil, paper, wood, marble, metal, or stone, to name just a tiny hand-ful. All of these media have unique properties that people have utilised to create great works of art. Michel-angelo used the translucency and fine texture of marble to create the beautifully naturalistic detail of his Pietà, Turner manipulated the subtle blending properties of oil paint to produce the disorienting light and shadows of his seascapes, and Hitchcock exploited cinema’s singular storytelling technique of combining sequences of moving pictures to thrill and traumatise their viewer in Psycho. So, what are the special attributes of 3D?
Three-dimensional film enhances
the illusion of depth perception that already exists in so-called 2D cinema. The range of potential associations and applications of this characteristic are, as with all the media mentioned above, limited only by imagination. The success of utilising the technique varies from film to film, but there has already been evidence of some exciting, and increasingly improved, effects: the sinister menace of a shotgun slowly turning and poking out at the audience in My Bloody Valentine 3D; the physical exhilaration of watching dancing bodies float in deep space in Streetdance 3D; the sensation of being sucked into the creepy, swirly stop-motion world of Coraline, the majestic floating lands in Avatar. Many filmmakers are now exploring the possibilities of 3D technology and awaiting the results is electrifying. It may be a strange partnership, but who can resist see-ing what Werner Herzog achieves using 3D for his latest documentary, Cave of Forgotten Dreams?
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