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Hollywood films need to be about thoughts that are new again, to conserve movie theater
There is a film maker a little man standing on-stage, covered in chained and Christmas tree lights to a bull horn. He rants about a book he read, his household, his government, how we can not get his girlfriend to climax, the price of melons these times and his grandfather's nose hairs. He insults the audience, makes weird sounds with his cheeks and spits on them. People throw things and shout and occasionally someone shouts. Certainly, no one could pay to see this. Much less allow them into their front room.

Art's purpose was never just to make you feel good. Film is intended to enlighten, to say all of the things that you dared not utter

'Story is the means by which we give meaning to our existence. Movie, the finest vehicle for it, enables us to pronounce thoughts and desires '

But the purpose of art was never only to make you feel good. It was to confront you with nausea vision of your-self, a shrieking and the creatures sitting with you in the Wimbledon Odeon. And you may be enlightened by it. Confrontation is the title of the sport. You dared not absolute although picture is meant to say all of the things that were at the curve of your lips. The one who gets up on stage and tells you that you're a great man in a superb nation, with only failings and every chance at redemption or, more than that, that your life is uncomplicated.

Apologies for the professors, but let's say the conditions before we take off our trousers. Story, since time immemorial, is the means through which we give significance to our being. As screenwriting mandarin Robert Mckee said in his novel, Narrative, "narrative is not a flight from reality but a vehicle which takes us on our hunt for world, our best attempt to make sense out from the anarchy of being".

It is the difference between individual and animal perceptions of world - a chaotic arrangement of fundamentally neutral challenges around which to ********, combat and consume, or a difficult though deeply amazing swirling morass of idea, confusing emotions and fantasies that are troubling. RomanPolanski 's are the fictions that develop our world. So as the biggest, hottest, most obnoxious, greatest vehicle for narratives of the last 100 or so years, we can ask what's exceptional to film that we are given by other opinions of storytelling merely cannot. Well, it's a shared experience; it's a mouth-piece for brief, sharp statements. And from this ledge that is high we can say that picture permits us to articulate desires and ideas; even periphery ones, as a culture. This is when pictures are in their apex and it's why they are needed by us.

Richard Nixon is the true star. A film that articulated a simple truth -Watergate age: skeptical power prevails. Several months after the picture was released, Richard Nixon was pardoned by Gerald Ford's recently presidential face's grotesquely mundane folds. I am undoubtedly homesick for a time that I never saw, but pictures seemingly used to be like this - no longer. The large curve that sprang from cinema of the 1960s reached its side that was far in the early 80's. The oft-mentioned golden age had started when movie execs dropped the scheme and started throwing cash at youthful, unstable, wildeyed film makers to make shaky, wildeyed film.

Catharsis was offered by Hollywood movies of the 70's along with an understanding of a world that was changing

There were films, like The Graduate and Easy Rider, that not only let people to understand a changing world, but to possibly claw a measure of the encounter of earnest catharsis out. Rather simply, that crowds weren't alone. Pictures of the 70s did this, and they produced cash. New Hollywood continued on in this manner, until - ridden with VD and caked in gak residue - the brilliant young weirdos ate themselves. Lodged high up their assholes, those film-makers began making indulgent, cloying films which lost more and more cash.

But it wasn't simply the new found method for achievement that the blockbuster supplied that lobotomised much of movie-making. There was money to be created and 'what can you do for your nation?' converted in to 'what could I get for myself? ' The rise of small Reagans and Thatchers around the world all did not happen in a vacuum; it signified a shift that is fundamental. Society's belief eroded and as communities weakened, so did the need to discuss society and therefore job thoughts to the film going audience.

'As communities weakened and society eroded, so did the demand to talk about society and thus job thoughts to the filmgoing audience'

But at the same time, Hollywood had found a new plaything - the likes of Star Wars and Jaws had proved to the money men they did not want these , pretentious little pissants that were uncontrollable, but could do things in a new way. A new manner which intended action figures, vertical integration, a yield that is high and - with the arrival of high-concept - films which can be about things and not thoughts. Say, a movie about autos that speak, immediately followed by a picture about planes that speak.

In a way, pictures continued to articulate the zeitgeist. Sadly, the zeitgeist was not about conflict, but about gratification. Cash was cool, cocaine was cool, Huey Lewis was trendy, killing countless waves of brownish third-world revolutionaries was cool, being a conservative was cool. And therefore the extreme politicisation that had characterised so much of amazing filmmaking had gotten a refreshing return to the John Wayne style of blandness that was reactionary that was wholesome. A fashion that, at the minimum, told everyone in the theatre that they were great folks and that, finally, everything was going to be fine.

In fact, the finest film about our generation was made 50 years past; we live in a world that makes all young people into The Graduate - deeply alone and infected with a combination of malaise and confusion that was barbarous. And it's just that which filmmakers should be speaking about, perhaps not those cars that become robots. A picture that is good touches you and reaches out. And spits on you a small, leaving a mark. But it is, myself assure you, a blot that is marvellous.

Don't get me wrong - some of these were amazing movies. And should youn't value this, you should at least recognise that there are movies being made about you. A pal of mine once mentioned the last film about his era was Human Traffic. Don't say it wasn't. It was.

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