A film-maker is a small man standing on stage, covered in chained and Christmas tree lights to your bull horn. He rants about a book he once read, his family, his government, how we can't get his girl friend to climax, the price of melons these times and his grandpa's nose hairs. The filmmaker makes weird noises insults the audience and spits on them. Folks throw things and shout and sometimes someone cries. Surely, no one would pay to see this. Much less enable the into their living room.
Art's point was never merely to make you feel good. Movie is supposed to enlighten, to say all of the things which you dared not utter
'Narrative is the means by which we give significance to our existence. Movie, the best vehicle for it, enables us to articulate thoughts and desires '
But the purpose of artwork was never merely to allow you to feel good. It was to confront you with all the creatures sitting with you, nausea eyesight of your-self and a shrieking. And you may be enlightened by it. Confrontation is the name of the game. Movie is intended to say all of the things that were at the curve of your lips-but you dared not complete.
Apologies for the academics, but let us say the conditions before we take-off our pants. As screenwriting mandarin Robert Mckee stated in his book, Narrative, "narrative is not a flight from reality but an automobile which carries us on our hunt for world, our greatest attempt to make sense outside of the anarchy of existence".
It's the difference between human and animal perceptions of world - a disorderly organization of a complicated though profoundly beautiful swirling morass of idea, confounding emotions, or fundamentally neutral challenges around which to ********, combat and consume and troubling dreams. They are the fictions that construct our reality. So as the largest, newest, most obnoxious, best vehicle for narratives of the last 100 or so years, we can inquire what is unique to film that we are given by other opinions of storytelling merely cannot. Well, it's a common experience; it's a mouthpiece for brief, sharp statements. And from this ledge that is large we can declare that movie permits us to articulate notions and desires; even periphery ones, as a culture. This can be when movies are at their apex and it's why we desire them.
Richard Nixon is the true star of Roman Polanski's Chinatown. A picture that articulated a simple truth -Watergate age: cynical power holds. Several months after the movie was launched, Richard Nixon was pardoned by the plain folds of Gerald Ford's recently presidential face. The high curve that sprang from film of the 1960s reached its side that was far in the early 80s. The oft-cited golden age of New Hollywood had started when movie execs dropped the scheme and began throwing money at youthful, mentally ill, wildeyed filmmakers to make shaky, wildeyed picture.
Catharsis was offered by Hollywood movies of the 1970s together with an understanding of a changing world
There were movies, like The Graduate and Easy Rider, that not only permitted individuals to comprehend a changing world, but to perhaps claw a measure of the encounter of serious catharsis out. Rather simply, that crowds are not alone. Movies of the 70's did this, and money was made by them. New Hollywood continued on in this way, until - ridden with caked in gak and VD residue - the brilliant young weirdos were eaten by themselves. Stayed high up their assholes, these film-makers began making indulgent pictures which lost an increasing number of cash.
But by then, Hollywood had found a fresh toy - the kind of Jaws and Star Wars had demonstrated to the money men although they did not need these disorderly, pretentious little pissants, but could do things in a new manner. A new manner which designed action figures, vertical integration, a large yield and - with the arrival of high concept - films which could be about things and not notions. Say, a film about automobiles that talk, rapidly followed by a movie about planes that speak.
But it was not merely the newfound formula for achievement that the smash supplied that lobotomised much of movie-making. It was larger than that - the world changed in the late 70s. There was cash to be made and 'what are you able to do to your nation?' changed in to 'what can I get for myself? ' The rise of Thatchers and little Reagans all around the globe didn't happen in a vacuum; it signified a change that is fundamental. The belief of culture eroded and so as communities weakened, so did the demand to talk about society and thereby project notions to the film-going audience.
'As communities and society eroded, so did the demand to speak about society and thereby project ideas to the filmgoing audience'
Pictures in a way, continued to say the zeitgeist. Sadly, the zeitgeist wasn't about conflict, but about satisfaction. Money was cool, cocaine was cool, Huey Lewis was cool, killing countless waves of third-world revolutionaries that are brownish was cool, being a conservative was cool. And therefore the radical politicisation that had characterised therefore much of amazing filmmaking had experienced a refreshing return to the John Wayne style of blandness that was reactionary that was healthful. A fashion that, at the minimum, assured everyone in the theatre they were great people and that, in the end, every thing was going to be fine.
In reality, the greatest picture about our era was created 50 years ago; we live in a planet that makes all young folks into The Graduate - profoundly alone and infected with a combination of malaise and confusion that was barbarous. And it is precisely that which film-makers should be talking about, perhaps not those automobiles that change into robots. A superb film touches you and reaches out. And even spits on you a small, making a mark. But it is, I assure you, a marvellous spot.
Don't get myself wrong - some of they were excellent movies. The seachange lives to this day, in the exact same way a bold dose of neo-liberalism characterises the governing ideology of western authorities - our cinema screens are marred by films about alien robots that turn into cars. And if you don't value that, you should at least recognise that there are films being produced about you. A buddy of mine once said the last film about his generation was Human Traffic. And Human Traffic was s**t. Do not say it was not. It was.
'The sam e type of bile that inspired the best films of the last 50 years seems sparse today; commodity is valued over art'
soggyslogan3011 Community Member 
|
|
