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	<title>Light &#38; Shadow</title>
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	<link>http://blogs.bu.edu/lightandshadow</link>
	<description>BU&#039;s Graduate Film and Culture review blog</description>
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		<title>Finding the Beauty&#8211;Book Review: The Language and Style of Film Criticism Edited by Alex Clayton and Andrew Klevan</title>
		<link>http://blogs.bu.edu/lightandshadow/2011/07/14/508/</link>
		<comments>http://blogs.bu.edu/lightandshadow/2011/07/14/508/#comments</comments>
		<pubDate>Thu, 14 Jul 2011 15:36:44 +0000</pubDate>
		<dc:creator>nsf223</dc:creator>
				<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[Book Review]]></category>
		<category><![CDATA[Bordwell]]></category>
		<category><![CDATA[Cinephilia]]></category>
		<category><![CDATA[Clayton]]></category>
		<category><![CDATA[Film Criticism]]></category>
		<category><![CDATA[Klevan]]></category>
		<category><![CDATA[Nicholas Forster]]></category>
		<category><![CDATA[Rodowick]]></category>
		<category><![CDATA[Style]]></category>
		<category><![CDATA[Theory]]></category>
		<category><![CDATA[Video Essay]]></category>

		<guid isPermaLink="false">http://blogs.bu.edu/lightandshadow/?p=508</guid>
		<description><![CDATA[Theory is dead. Well, so I am told. Since the 1990s critics, authors and writers such as David Bordwell, Murray Pomerance and many others have stressed the need to steer film theory in a new direction, whether it be film-philosophy, neo-formalism or another approach (if not theory altogether). Thankfully, if theory is not completely dead [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Book Review: Nicholas Ray: The Glorious Failure of An American Director by Patrick McGilligan</title>
		<link>http://blogs.bu.edu/lightandshadow/2011/07/03/book-review-nicholas-ray-the-glorious-failure-of-an-american-director-by-patrick-mcgilligan/</link>
		<comments>http://blogs.bu.edu/lightandshadow/2011/07/03/book-review-nicholas-ray-the-glorious-failure-of-an-american-director-by-patrick-mcgilligan/#comments</comments>
		<pubDate>Mon, 04 Jul 2011 00:53:37 +0000</pubDate>
		<dc:creator>nsf223</dc:creator>
				<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[auteurism]]></category>
		<category><![CDATA[Bigger Than Life]]></category>
		<category><![CDATA[Book Review]]></category>
		<category><![CDATA[James Dean]]></category>
		<category><![CDATA[Nicholas Forster]]></category>
		<category><![CDATA[Nicholas Ray]]></category>
		<category><![CDATA[Ray]]></category>
		<category><![CDATA[Rebel Without a Cause]]></category>

		<guid isPermaLink="false">http://blogs.bu.edu/lightandshadow/?p=500</guid>
		<description><![CDATA[For many cinephiles, cineastes, filmmakers and Frenchmen Nicholas Ray was a titan—a man who thrived with a remarkably independent vision in the grind of the studio era.  Almost exactly a year ago Criterion released Ray’s classic (and my favorite of his films) Bigger Than Life on DVD. Here, in a review, Rob Ribera commented, “the [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Masters Adapting Masters: Jean-Luc Godard’s King Lear</title>
		<link>http://blogs.bu.edu/lightandshadow/2011/04/18/masters-adapting-masters-jean-luc-godard%e2%80%99s-king-lear/</link>
		<comments>http://blogs.bu.edu/lightandshadow/2011/04/18/masters-adapting-masters-jean-luc-godard%e2%80%99s-king-lear/#comments</comments>
		<pubDate>Mon, 18 Apr 2011 17:39:05 +0000</pubDate>
		<dc:creator>nsf223</dc:creator>
				<category><![CDATA[Reviews]]></category>
		<category><![CDATA[Adaptations]]></category>
		<category><![CDATA[Godard]]></category>
		<category><![CDATA[Jean-Luc Godard]]></category>
		<category><![CDATA[Nicholas Forster]]></category>
		<category><![CDATA[Shakespeare]]></category>

		<guid isPermaLink="false">http://blogs.bu.edu/lightandshadow/?p=490</guid>
		<description><![CDATA[Godard’s King Lear (1987) oscillates between being both a mess and a masterpiece. Shunning any straight-reading of the Shakespeare play, Godard, as he did throughout the 1960s, raises questions about the instability of language and the very meaning of art in a society driven by the culture industry. There is no real plot to Godard’s [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Locating the Infinite: Uncle Boonmee Who Can Recall His Past Lives</title>
		<link>http://blogs.bu.edu/lightandshadow/2011/04/12/uncle-boonmee-who-can-recall-his-past-lives/</link>
		<comments>http://blogs.bu.edu/lightandshadow/2011/04/12/uncle-boonmee-who-can-recall-his-past-lives/#comments</comments>
		<pubDate>Tue, 12 Apr 2011 15:46:49 +0000</pubDate>
		<dc:creator>nsf223</dc:creator>
				<category><![CDATA[Reviews]]></category>
		<category><![CDATA[Apichatpong Weerasethakul]]></category>
		<category><![CDATA[Cannes]]></category>
		<category><![CDATA[Contemporary Cinema]]></category>
		<category><![CDATA[Nicholas Forster]]></category>
		<category><![CDATA[Thai Cinema]]></category>
		<category><![CDATA[Weerasethakul]]></category>
		<category><![CDATA[World Cinema]]></category>

		<guid isPermaLink="false">http://blogs.bu.edu/lightandshadow/?p=474</guid>
		<description><![CDATA[How do you describe the indescribable? Such a question, lies at the heart of Apichatpong Weerasethakul’s latest film, Uncle Boonmee Who Can Recall His Past Lives. Continuing the trend of so many masters, from Godard and Herzog to Fuller and Hitchcock, Weerasethakul combines both high and low art, in charting the final days of one [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Your Highness</title>
		<link>http://blogs.bu.edu/lightandshadow/2011/04/10/your-highness/</link>
		<comments>http://blogs.bu.edu/lightandshadow/2011/04/10/your-highness/#comments</comments>
		<pubDate>Sun, 10 Apr 2011 18:32:27 +0000</pubDate>
		<dc:creator>adamburn</dc:creator>
				<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[Burnstine]]></category>
		<category><![CDATA[Danny McBride]]></category>
		<category><![CDATA[David Gordon Green]]></category>
		<category><![CDATA[James Franco]]></category>
		<category><![CDATA[Natalie Portman]]></category>
		<category><![CDATA[Your Highness]]></category>

		<guid isPermaLink="false">http://blogs.bu.edu/lightandshadow/?p=468</guid>
		<description><![CDATA[Once upon a time, about eight years ago, David Gordon Green was America’s most promising young filmmaker. In certain circles, people were calling him the next Malick, and while comparing a twenty-seven year-old with two feature films under his belt to the greatest American filmmaker since Orson Welles may have been a bit excessive, it [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Certified Copy</title>
		<link>http://blogs.bu.edu/lightandshadow/2011/04/01/certified-copy/</link>
		<comments>http://blogs.bu.edu/lightandshadow/2011/04/01/certified-copy/#comments</comments>
		<pubDate>Fri, 01 Apr 2011 20:52:22 +0000</pubDate>
		<dc:creator>adamburn</dc:creator>
				<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[Abbas Kiarostami]]></category>
		<category><![CDATA[Burnstine]]></category>
		<category><![CDATA[Cannes]]></category>
		<category><![CDATA[Certified Copy]]></category>
		<category><![CDATA[Iranian film]]></category>
		<category><![CDATA[Juliet Binoche]]></category>

		<guid isPermaLink="false">http://blogs.bu.edu/lightandshadow/?p=464</guid>
		<description><![CDATA[Looking over my now three-month-old list of the best films of 2010 (which I now realize I should have posted here) I’m noticing how much some of the positioning would change with the benefit of time. The key word there is “some.” There is still no doubt in my mind about the top two films [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Lincoln Lawyer</title>
		<link>http://blogs.bu.edu/lightandshadow/2011/03/18/the-lincoln-lawyer/</link>
		<comments>http://blogs.bu.edu/lightandshadow/2011/03/18/the-lincoln-lawyer/#comments</comments>
		<pubDate>Fri, 18 Mar 2011 18:34:43 +0000</pubDate>
		<dc:creator>mmcleary</dc:creator>
				<category><![CDATA[Reviews]]></category>
		<category><![CDATA[Uncategorized]]></category>

		<guid isPermaLink="false">http://blogs.bu.edu/lightandshadow/?p=459</guid>
		<description><![CDATA[Matthew McConaughey is extremely likable.  When we look back at his most well-known roles—Steve Edison in The Wedding Planner, Ben Barry in How to Lose a Guy in 10 Days, Tripp in Failure to Launch, Connor Mead in Ghosts of Girlfriends Past—it is more than clear that he can play the good-looking, smooth-talking romantic interest [...]]]></description>
		<wfw:commentRss>http://blogs.bu.edu/lightandshadow/2011/03/18/the-lincoln-lawyer/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>Paul</title>
		<link>http://blogs.bu.edu/lightandshadow/2011/03/17/paul/</link>
		<comments>http://blogs.bu.edu/lightandshadow/2011/03/17/paul/#comments</comments>
		<pubDate>Fri, 18 Mar 2011 02:33:29 +0000</pubDate>
		<dc:creator>adamburn</dc:creator>
				<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[Burnstine]]></category>
		<category><![CDATA[Greg Mottola]]></category>
		<category><![CDATA[Nick Frost]]></category>
		<category><![CDATA[Paul]]></category>
		<category><![CDATA[Seth Rogen]]></category>
		<category><![CDATA[Simon Pegg]]></category>

		<guid isPermaLink="false">http://blogs.bu.edu/lightandshadow/?p=455</guid>
		<description><![CDATA[Over the last decade, Simon Pegg and Nick Frost have discovered one of the best formulas in comedy. If you put them, and their quintessential Brittishness, into a scenario from any number of overly serious popular American films, hilarity will probably ensue. Of course, this formula worked best in 2004’s cult classic Shaun Of The [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Adjustment Bureau</title>
		<link>http://blogs.bu.edu/lightandshadow/2011/03/03/the-adjustment-bureau/</link>
		<comments>http://blogs.bu.edu/lightandshadow/2011/03/03/the-adjustment-bureau/#comments</comments>
		<pubDate>Fri, 04 Mar 2011 02:34:19 +0000</pubDate>
		<dc:creator>adamburn</dc:creator>
				<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[Adjustment Bureau]]></category>
		<category><![CDATA[Emily Blunt]]></category>
		<category><![CDATA[Matt Damon]]></category>
		<category><![CDATA[Philip K. Dick]]></category>

		<guid isPermaLink="false">http://blogs.bu.edu/lightandshadow/?p=450</guid>
		<description><![CDATA[To date, there have been nine Hollywood adaptations of Philip K. Dick’s novels and short stories. The latest, The Adjustment Bureau (adapted from a short story called “The Adjustment Team”), has the distinction of being in the exact middle of the pack. George Nolfi’s film doesn’t even come close to Blade Runner, Minority Report, A [...]]]></description>
		<wfw:commentRss>http://blogs.bu.edu/lightandshadow/2011/03/03/the-adjustment-bureau/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Little Fockers</title>
		<link>http://blogs.bu.edu/lightandshadow/2010/12/17/little-fockers/</link>
		<comments>http://blogs.bu.edu/lightandshadow/2010/12/17/little-fockers/#comments</comments>
		<pubDate>Sat, 18 Dec 2010 01:07:28 +0000</pubDate>
		<dc:creator>adamburn</dc:creator>
				<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[Adam Burnstine]]></category>
		<category><![CDATA[Ben Stiller]]></category>
		<category><![CDATA[Little Fockers]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[Robert De Niro]]></category>

		<guid isPermaLink="false">http://blogs.bu.edu/lightandshadow/?p=442</guid>
		<description><![CDATA[Little Fockers, the third, and hopefully final, film in the trilogy that also includes Meet The Parents and Meet The Fockers, ends with a scene that serves as a surprisingly apt metaphor for the series as a whole. Early in the film, Greg Focker (Ben Stiller) gives a speech in which he recounts some of [...]]]></description>
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		<slash:comments>1</slash:comments>
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