“Piracy will bankrupt the 200 million dollar movie (Goodbye Bay,Fincher,Nolan etc) causing a collapse of the studio system bringing about a turn away from the digital and CGI to artisan/handcrafted films(Hello Guy Maddin)”
Yeah, because there’s no way Chris Nolan could pull off a low budget film…
Roman, I agree. Mexico is also up there.
“Yeah, because there’s no way Chris Nolan could pull off a low budget film…” – Napolean
Yeah he didn’t make a great film called Following. Memento also had a huge budget …
I would say Mexican New wave but instead of mentioning the darlings of the media (del toro, inarritu and Cuaron) I would suggest Carlos Reygadas (Slient light, Japon and Battle in Heaven) or Julian Hernandez (Heaven divided) or even Amat Escalante (The Bastards) or it can also be the Philippines New wave with Brillante Mendoza who won Cannes (Kinatay) Cesar Montano (The call of the river).
Piracy will bankrupt the 200 million dollar movie (Goodbye Bay,Fincher,Nolan etc) causing a collapse of the studio system bringing about a turn away from the digital and CGI to artisan/handcrafted films(Hello Guy Maddin)
A silly little fantasy. I don’t know if you were old enough, when digital recording technologies and samplers and certain innovations in digital synthesis became a bugaboo and source of controversy in the music world—but a lot of this nonsense about CG sounds a lot like the luddite babbling of that time. People said that digital recordings were too “clean” and “mechanical,” relative to recordings made with analog equipment. They bitched and moaned about sampling and digital synthesis becoming cheap, craft-less substitutes for “real” instruments and environments. There were even luddites who – in keeping with your Guy Maddin fantasy – clung tightly to their vinyl LPs in fear of the soulless innovation of the CD.
The plain fact is that Guy Maddin himself uses digital tools in post. Do your research before you laud him as the paradigm of the “hand-crafted” guild of throwback artists. Brand Upon the Brain! was crafted, in large part, in Final Cut Pro. And by any reasonable definition, a tool like Final Cut Pro (used by indie filmmakers no less than by majors) is a CG tool.
in countries where none has ever heard about,which will inevitably mean that their legendary past will come back to the surface like Lithuania,Philippines or Senegal…
The cinema is dead.
“The cinema is dead.”
a cynical or ironic approach?
i wonder… :P
The next great movement might be the rebirth of Steven Seagal. One can only dream
Southern American NeoRealism. George Washington, Half Nelson, etc.
I hope to god mumblecore won’t be considered the “next American new wave” in film history books.
Witkacy:
“Piracy will bankrupt the 200 million dollar movie (Goodbye Bay,Fincher,Nolan etc) causing a collapse of the studio system bringing about a turn away from the digital and CGI to artisan/handcrafted films(Hello Guy Maddin)”
Now I may not be the brightest light on the porch, but even I can figure out that when the OP made that quote, he was talking about a whole different use of CGI than the way madden applies it.
“There were even luddites who – in keeping with your Guy Maddin fantasy – clung tightly to their vinyl LPs in fear of the soulless innovation of the CD”
And on that above statement, I could go on for hours on how that is completely wrong. Analogue recordings and devices still sound better when played on proper equipment. You’ve just never had a proper comparison, but that discussion is for another board.
“The next great movement might be the rebirth of Steven Segal. One can only dream”
Looks like I predicted the future. Steven Segal was just cast in Robert Rodriguez “Machete”. He is going to make a comeback, believe me. You will all thank me later
Fredo said:“I had a dream once where I met Zooey Deschenal and all I wanted to do was talk to her about her father.”
I had that same dream, Caleb Deschanel is my hero.
I think Bobby Wise is right about a Neo-Classical movement. I was telling someone today that I found the Assassination of Jesse James to be a neo-classical kind of film.
Oh, and I didn’t know Scorsese said that “Kiarostami represents the highest level of artistry in the cinema,” but I think he is probably right. He at least ranks close to Kieslowski.
The artsy pro-State, pro-Army, pro-Race propaganda films… filled with beautiful landscapes, tormented souls, emotionally muted shots that hint at redemption but not quite manifest it (because, after all, who can be sure?), unending travellings that make (lesser) others’ suffering pretty, attractive bourgeois folks who want change but cannot bring it about, populist statements that obscure their defense of the elites by singing paternalistic praises to the underdogs… that sort of thing… nothing new, but next.
oh c’mon,i knew Kiarostami beforehand,without listening to what Scorsese thinks of him….
Jesse James neo-classical?i thought Derek Jarman was already an innovator of that term with films like Sebastiane and The Last of England,and assuming there will be such term,Sang-soo and Panahi belong there in a very post-modern vision…
i assume you hate D.W. Griffith,eh Ralch? :P
Yeah we’ve all heard of Kiarostomi, I just thought it was nice to see Scorsese said that. And yeah, Jesse James could be neo-classical, in the sense that it is firmly aware of the classic films that came before it, and the multiple variations and the different tellings of its subject.
Greenaway has said that Scorsese has been doing the same movie for 20 years….
Clayton,i don’t disagree about Scorsese’s statement…but let’s be honest,i’ve heard a lot of times about Scorsese and his knowledge of loads of directors,it’s as annoying as when someone says Michael Bay sucks after a trillion times…
yes,Scorsese knows things but why should people expect to listen to what Scorsese knows when they can search by themselves?and that goes to people who don’t know Kiarostami…
Mikel,some others believe Greenaway rips off Raoul Ruiz,it’s a vice versa accusation :P
if we want to theorize neo-classical, i would think it to mean a restrained approach. a move back to classical forms and concerns. a rejection of post-modernist aesthetics. a sober, polished cinema.
I enjoy the new dramedy genre.
I see what you’re saying Dimitris, and I agree somewhat, it can get old.
@Bobby- I like your definition of neo-classicism, and I think that’s why Jesse James fits. It references classics like Days of Heaven and McCabe & Mrs. Miller, while also giving new treatment to a classic American genre and a well known American legend. It is also a restrained and sober piece of work.
Depends how you define “movement.” I’m not sure how many there actually have been, I think they’re a rare thing indeed. “Neo-classicism” for example is a style, not a movement.
id love to discuss a definition of a “movement”. this is something ive been thinking about recently. can we start off by saying its a collective of people, whether tightly or loosely organized or related somehow, who either share some sort of aesthetic output/view or work in close proximity either temporally or geographically?
maybe its easier to debate examples. french new wave and italian neorealism are probably the best known. what makes either one a movement, or what about them leads you to argue that they cant be classified as a movement?
There is silver lining for the new new Philippine cinema.
The new new Philippine cinema is an explosion of vibrant and exploding creative artistry from some of the new and old Filipino filmmakers around and on hiatus. Many more are yet to be discovered and “promoted”.
There is Raya Martin, Lav Diaz, John Torres, Aureus Solito, Raymond Red on one side.
There is Pepe Diokno, Brillante Mendoza, Adolf Alix Jr., Mario O’ Hara on the other side.
You ask: are we smelling competition among these people? We never really know but you can tell that these people are all up to explore themes and styles for artistic expression and not consciously dictate an abrupt, cesspool of change to happen.
These new wave of Filipino filmmakers are hard to contain in one strict category like what the Romanians did a few years ago.
These current crop of filmmakers define the new national psyche of the Filipinos – unpredictable, extraordinary and in full force to shape and transform our view of the world, and ourselves.
It is then my belief that the next great movement in cinema will spring from the East, and that is in the Philippines.
Mexican cinema – I don’t know whether to refer to it as “Mexican Wave” or “Mexican Art House,” or something different, but I feel the rise of a Mexican movement like a lot of the rest of you.
We’re living it:
capitalist propaganda films all around the world
Hopelessly Addicted
Has Iranian cinema (Kiarostami, Makhmalbaf, Panahi, et al.) received enough attention? In addition to to the oft-discussed self-reflexivity, some of their films also commendably capture the relatively isolated ‘native/rural/tribal’ populations without exoticizing them (at least to my ‘foreign gaze’)…
If you haven’t been exposed to their work, here’s what others say about Kiarostami, for example:
Jean-Luc Godard has said: “Film begins with DW Griffith and ends with Abbas Kiarostami.” According to Martin Scorsese, “Kiarostami represents the highest level of artistry in the cinema.”