
"Master," get it? Huh, huh?
For context, see post directly prior to this one.
1) La sortie des usines Lumiére, L'arivée d'un train á La Ciotat, etc., etc., Auguste and Louis Lumiere, 1895-96
2) Un chien andalou and L'age d'or, Luis Buñuel and Salvador Dali, 1929 and 1930
3) Dodsworth, William Wyler, 1936
4) The entire oeuvre of Stan Brakhage, 1952-2003
5) L'année derriere derniére a Marienbad, Alain Resnais, 1961
6) Wavelength and La région centrale, Michael Snow, 1967 and 1971
7) Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles, Chantal Akerman, 1975
8) Stranger Than Paradise, Jim Jarmusch, 1984 (pictured)
9) Russian Ark, Alexander Sokurov, 2002
10) The Girlfriend Experience, Steven Soderbergh, 2009
Notes:
2): These Buñuel films are apt demonstrations of the adage, "When you've got no continuity, you can't have any continuity errors!"
3): I actually can't vouch for the fact that this film contains no lapses in continuity. Its inclusion is merely a ploy to get more people to seek it out and see it.
5): A similar principle to the one applied to 2) applies here. That is, in a picture of such unremitting irreality, continuity as such cannot apply. That said, I also cannot find anything in it that would constitute a supposed "error>"
10): Not just because of the specific way it was shot, but because its anti-linear editing pretty much cancels out the possibility of a conventional gaffe.
The others ought to be self-explanatory, I reckon.
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