I don’t believe that because many films that are advertised in America, particularly those produced in Hollywood, are commercial and often devoid of any real artistic exploration necessarily means that cinema is dead or dying. By asking if cinema is dying you are asking if art is dying. I don’t believe that art dies, and I certainly don’t believe the commercial exploitation of cinema will cause its death. There are plenty of filmmakers and auteurs around the world that continue to make wonderful movies, and I believe (and hope) that there will be a revival of artistic cinema in Hollywood. That being said, I feel like I can speak for many people by saying that I am tired of the majority of one-dimensional, transparent, capital-motivated films that are released without any apparent end. It is depressing, but it also brings hope that maybe the we can transcend the typical conventions of Hollywood and bring a new wave of films and filmmakers to America. This feeling of loss is not entirely new; what is important is how cinema can be changed.
WKW is absolutely a director that should be explored. Like any director of worth he has a particular style, which is really a matter of taste. I enjoyed Chungking Express, and would recommend that, in addition to 2046 and In the Mood for Love. Those are the only WKW movies I have seen so I can’t say much other than I think any director with as much unique qualities as WKW deserves to be explored.
It’s pretty simple: money. The film industry is called an industry for a reason. Hollywood is motivated by money, whether it’s good films, or artistic films, or remakes – it’s whatever makes money that will determine what Hollywood does next. I feel pretty pessimistic about it, but then again, I couldn’t count how many terrible remakes and sequels have been put out over the last decade.
Mallrats. Die Hard with a Vengeance. The Hitchhikers Guide to the Galaxy. I’m sure there are so many others that I used to love, like every JCVD movie – I could never think of them all.
I am seriously considering writing and directing my first short. I have pretty minimal experience with the actual creation of films, but I do understand much of the way films are created. Also, I don’t really care if it’s very difficult because there is no way to make films without making a film.
I guess I wanted to know if anyone out there has created any shorts, or features, and what sort of things I should keep in mind. Any thoughts really.
Cannibal Holocaust.
Chungking Express.
Man Bites Dog.
Fear and Loathing in Las Vegas (we can thank Thompson for that one).
Lawrence of Arabia.
Iron Monkey.
A Fistful of Dollars.
Let the Right One In.
Gymkata. (Can someone tell me how short Kurt Thomas is, because apparently his height is curiously disclosed?)
I’d have to agree with most and say that The Exorcist is probably still the scariest movie I have seen, but I think that’s because it had such an influence on me when I first saw it. I’m not sure if most people would agree with this, but I have to say that I think the portion “Jupiter and Beyond the Infinite” in 2001: A Space Odyssey is pretty frightening. Just the thought of being stranded so far out in space, aimlessly floating around and without hope of rescue or survival, with the menacing monolith, is terrifying. I would imagine it’s like being stranded at sea, only intensely magnified.
Seeing as how Godard is one of the most influential filmmakers I don’t see how anyone could say he is overrated. It doesn’t matter how many films he made, or how many were unwatchable, because the wonderful films he did make will always categorize him as one of the best.
For me, the primary colors represent the natural, particularly in the sense of the natural being what lies in between individual lives, or life in general. The film makes note on several occasions of the space in between life, on the focus of not just particular lives, but many lives, and the space between them. I’m not sure if this really makes sense, but it is something I am still grappling with, as I am sure many people are. If there’s one thing I feel certain about, it is that there is a connection between the use of color and the exploration of space and nature. It’s just hard to know exactly what.
It would be interesting to examine what directors use this technique. I can think of several authors who do it, including Salinger and Hemingway, but am having trouble thinking of any directors off the top of my head. I feel like it is probably more common in literature than film, because of the nature of the two art forms – although that seems like a vague reason. I have definitely seen it more often in literature than film, but would interested to explore this.
Also, Tarantino does this, but, eh, I don’t think I really want to get into Tarantino right now.
such a shame that AD got taken off the air. doesn’t surprise me though. it’s things like that that give me so little faith in people. then again, the auteurs gives me the faith back.
I guess it’s not on ebay, which surprises me. But there’s a video store where I live that has several copies. If you really want it I’m sure you could buy it off them. It might not be cheap though.
I think that this is a really interesting topic, which can also be applied to violence in film. I think what is important to note here is intention and audience. Although in many instances explicit sex scenes in certain films (In the Realm of Senses, 9 Songs, Caligula, etc.) appear to be no different from some pornographic films, it is most often the intention of the film and the audience the film is being directed towards, which separates the two. Pornography, simply put, is the commercialization of sex, which exploits women and perpetuates many, often debasing, sexual stereotypes. It is an industry, a large one, and it is motivated by the production of capital; the intention of pornographic films is to commercialize sex to stimulate sexual feelings in its viewers. In addition, there is LOTS of porn that is far more explicit and debasing that anything that would be seen in artistic film. Pornography has a specific intent and is directed towards a specific (and large) audience. Just because a film will show penetration does not necessarily make it a “pornographic” film. The difference between porn and seemingly pornographic films, lets just say In the Realm of Senses, is the focus on character development, which although it includes “real” intercourse is still focused on the changes and the lives of the characters in the film. It is the intention of the films, which often dictates the audience the film is being directed towards, which separates the two. Also, I believe the OED definition of pornography will help clear things up:
“1. a. the explicit description or exhibition of sexual subjects or activities in literature, paintings, film, etc., in a manner intended to stimulate erotic rather than aesthetic feelings;”
I think with all this in consideration what becomes interesting is examining what films utilize non-simulated sex and to what intent. For me, In the Realm of Senses is clearly not intended to be pornography, or rather to stimulate erotic feelings over aesthetic, because the film narrative is focused more on the lives of the characters rather than their sexual exploits together. Caligula, on the other hand, particularly the unrated version, seems to be harder to judge, because there are many, many non-simulated sex scenes which have nothing to do with the characters involved. To a certain extent, the exposure of such massive amounts of sexual activity to Caligula at such a young age does directly affect his character, and it may have been the point of the director to illustrate this to the audience. But, there are many scenes which can not even be categorized as affecting Caligula – scenes that would not inhibit the aesthetic intention of the film if they were removed. Caligula is harder to categorize still, because many of the actors, or extras, were working with Penthouse. This fact brings into question the intention of certain scenes of the film.
This is an interesting debate because it very difficult to categorize the intention and intended audience of films, particularly when you are examining artistic film, but I think it is imperative to attempt to examine the artistic merits of the film and the films intentions if you are going to separate pornographic films and non-simulated sex in film.
Justin, I absolutely agree with you about being turned on as a moviegoing experience. I think that is a critical point to many scenes in film, but it becomes a very difficult thing to separate being turned on by a love scene and being physically sexually aroused, since they are (obviously) very closely related. In that sense, intent is key.
As for Warhol, I haven’t seen any of his films, but you seem to be extremely intelligent and you have definitely heightened my interest. I wonder, are his films very accessible, and I mean that in both the physical accessibility and the artistic accessibility for someone who is watching them?
I think Rohmer’s Six Moral Tales (a friend of mine said if her house burned down that would be all she needed, and I have to agree)
Breathless, Pierrot Le Fou, Kurosawa Box Set (Seven Samurai, Yojimbo, Sanjuro, Hidden Fortress), Fargo, A Clockwork Orange, The Last Emperor, Aguirre, The Wrath of God, and Ivan’s Childhood.
Is Cinema dying? over 3 years ago
I don’t believe that because many films that are advertised in America, particularly those produced in Hollywood, are commercial and often devoid of any real artistic exploration necessarily means that cinema is dead or dying. By asking if cinema is dying you are asking if art is dying. I don’t believe that art dies, and I certainly don’t believe the commercial exploitation of cinema will cause its death. There are plenty of filmmakers and auteurs around the world that continue to make wonderful movies, and I believe (and hope) that there will be a revival of artistic cinema in Hollywood. That being said, I feel like I can speak for many people by saying that I am tired of the majority of one-dimensional, transparent, capital-motivated films that are released without any apparent end. It is depressing, but it also brings hope that maybe the we can transcend the typical conventions of Hollywood and bring a new wave of films and filmmakers to America. This feeling of loss is not entirely new; what is important is how cinema can be changed.
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Greatest Director/Actor Collaborations over 3 years ago
Godard and Belmondo is a personal favorite. Also, the Coen brothers and Buscemi
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Most Memorable Villain over 3 years ago
Benoit Poelvoorde in Man Bites Dog is one of the more disturbing characters.
Also, I feel like Pat Bateman from American Psycho should be somewhere on the list.
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What Is "Movie Hell" For You? over 3 years ago
Any movie that Nicolas Cage is in; with the exception of Raising Arizona, and Adaptation. Or an endless repetition of Dane Cook’s filmography.
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Books over 3 years ago
Raise High the Roof Beam, Carpenters; and Seymour, an Introduction.
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Wong Kar-Wai over 3 years ago
WKW is absolutely a director that should be explored. Like any director of worth he has a particular style, which is really a matter of taste. I enjoyed Chungking Express, and would recommend that, in addition to 2046 and In the Mood for Love. Those are the only WKW movies I have seen so I can’t say much other than I think any director with as much unique qualities as WKW deserves to be explored.
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Film quotes you love over 3 years ago
The last time I was inside a woman was the Statue of Liberty.
-Crimes and Misdemeanors
Me too, Marianne
– Pierrot Le Fou
There are two types of people in this world, those with the loaded guns and those who dig.
-The Good, the Bad, and the Ugly
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Why Does Hollywood INSIST Upon Remaking Flawless Films? over 3 years ago
It’s pretty simple: money. The film industry is called an industry for a reason. Hollywood is motivated by money, whether it’s good films, or artistic films, or remakes – it’s whatever makes money that will determine what Hollywood does next. I feel pretty pessimistic about it, but then again, I couldn’t count how many terrible remakes and sequels have been put out over the last decade.
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Guilty Pleasures over 3 years ago
Mallrats. Die Hard with a Vengeance. The Hitchhikers Guide to the Galaxy. I’m sure there are so many others that I used to love, like every JCVD movie – I could never think of them all.
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Making Shorts over 3 years ago
I am seriously considering writing and directing my first short. I have pretty minimal experience with the actual creation of films, but I do understand much of the way films are created. Also, I don’t really care if it’s very difficult because there is no way to make films without making a film.
I guess I wanted to know if anyone out there has created any shorts, or features, and what sort of things I should keep in mind. Any thoughts really.
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Best shot movie(s) and its cinematographer over 3 years ago
Last Emp – Storaro
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Greatest samurai film of all time? over 3 years ago
Yojimbo
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How many of us work in film? (Pro or hobby) over 3 years ago
I would love more than anything to direct some shorts, but I lack any technical experience.
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What was the first Criterion movie you watched? over 3 years ago
Fear and Loathing in Las Vegas
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Best title over 3 years ago
Cannibal Holocaust.
Chungking Express.
Man Bites Dog.
Fear and Loathing in Las Vegas (we can thank Thompson for that one).
Lawrence of Arabia.
Iron Monkey.
A Fistful of Dollars.
Let the Right One In.
Gymkata. (Can someone tell me how short Kurt Thomas is, because apparently his height is curiously disclosed?)
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Best title over 3 years ago
hah, and thank you raysquirrel for adding Don’t Be A Menace…
That movie is so classic.
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The scariest or most disturbing film you have EVER seen. over 3 years ago
I’d have to agree with most and say that The Exorcist is probably still the scariest movie I have seen, but I think that’s because it had such an influence on me when I first saw it. I’m not sure if most people would agree with this, but I have to say that I think the portion “Jupiter and Beyond the Infinite” in 2001: A Space Odyssey is pretty frightening. Just the thought of being stranded so far out in space, aimlessly floating around and without hope of rescue or survival, with the menacing monolith, is terrifying. I would imagine it’s like being stranded at sea, only intensely magnified.
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tsai ming-liang over 3 years ago
I have been hearing a lot about this director, but I still haven’t seen anything he’s done. Any suggestions on what to start with?
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A Character Just Like You over 3 years ago
Robocop. Because sometimes I feel like half robot.
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Who do you think the most overrated director is? over 3 years ago
Seeing as how Godard is one of the most influential filmmakers I don’t see how anyone could say he is overrated. It doesn’t matter how many films he made, or how many were unwatchable, because the wonderful films he did make will always categorize him as one of the best.
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A List of Good Repertory/Specialty Theatres in Your Various Cities over 3 years ago
Tucson, AZ:
The Loft.
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The use of Color in Pierrot Le Fou? over 3 years ago
For me, the primary colors represent the natural, particularly in the sense of the natural being what lies in between individual lives, or life in general. The film makes note on several occasions of the space in between life, on the focus of not just particular lives, but many lives, and the space between them. I’m not sure if this really makes sense, but it is something I am still grappling with, as I am sure many people are. If there’s one thing I feel certain about, it is that there is a connection between the use of color and the exploration of space and nature. It’s just hard to know exactly what.
In any case, this is an excellent film.
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Wong Kar-Wai's accidental, cinematic invention? over 3 years ago
It would be interesting to examine what directors use this technique. I can think of several authors who do it, including Salinger and Hemingway, but am having trouble thinking of any directors off the top of my head. I feel like it is probably more common in literature than film, because of the nature of the two art forms – although that seems like a vague reason. I have definitely seen it more often in literature than film, but would interested to explore this.
Also, Tarantino does this, but, eh, I don’t think I really want to get into Tarantino right now.
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10 films you MUST have seen to even be in with a chance of being a true Cinephile over 3 years ago
there are so many more than 10 films that need to be seen, cinephile or not.
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Arrested Development/ TV Show over 3 years ago
such a shame that AD got taken off the air. doesn’t surprise me though. it’s things like that that give me so little faith in people. then again, the auteurs gives me the faith back.
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Where Can I find Last Year at Marienbad? over 3 years ago
I guess it’s not on ebay, which surprises me. But there’s a video store where I live that has several copies. If you really want it I’m sure you could buy it off them. It might not be cheap though.
Go to Comment
Non-Simulated Sex in Film vs. Pornography over 3 years ago
I think that this is a really interesting topic, which can also be applied to violence in film. I think what is important to note here is intention and audience. Although in many instances explicit sex scenes in certain films (In the Realm of Senses, 9 Songs, Caligula, etc.) appear to be no different from some pornographic films, it is most often the intention of the film and the audience the film is being directed towards, which separates the two. Pornography, simply put, is the commercialization of sex, which exploits women and perpetuates many, often debasing, sexual stereotypes. It is an industry, a large one, and it is motivated by the production of capital; the intention of pornographic films is to commercialize sex to stimulate sexual feelings in its viewers. In addition, there is LOTS of porn that is far more explicit and debasing that anything that would be seen in artistic film. Pornography has a specific intent and is directed towards a specific (and large) audience. Just because a film will show penetration does not necessarily make it a “pornographic” film. The difference between porn and seemingly pornographic films, lets just say In the Realm of Senses, is the focus on character development, which although it includes “real” intercourse is still focused on the changes and the lives of the characters in the film. It is the intention of the films, which often dictates the audience the film is being directed towards, which separates the two. Also, I believe the OED definition of pornography will help clear things up:
“1. a. the explicit description or exhibition of sexual subjects or activities in literature, paintings, film, etc., in a manner intended to stimulate erotic rather than aesthetic feelings;”
I think with all this in consideration what becomes interesting is examining what films utilize non-simulated sex and to what intent. For me, In the Realm of Senses is clearly not intended to be pornography, or rather to stimulate erotic feelings over aesthetic, because the film narrative is focused more on the lives of the characters rather than their sexual exploits together. Caligula, on the other hand, particularly the unrated version, seems to be harder to judge, because there are many, many non-simulated sex scenes which have nothing to do with the characters involved. To a certain extent, the exposure of such massive amounts of sexual activity to Caligula at such a young age does directly affect his character, and it may have been the point of the director to illustrate this to the audience. But, there are many scenes which can not even be categorized as affecting Caligula – scenes that would not inhibit the aesthetic intention of the film if they were removed. Caligula is harder to categorize still, because many of the actors, or extras, were working with Penthouse. This fact brings into question the intention of certain scenes of the film.
This is an interesting debate because it very difficult to categorize the intention and intended audience of films, particularly when you are examining artistic film, but I think it is imperative to attempt to examine the artistic merits of the film and the films intentions if you are going to separate pornographic films and non-simulated sex in film.
Go to Comment
Non-Simulated Sex in Film vs. Pornography over 3 years ago
Justin, I absolutely agree with you about being turned on as a moviegoing experience. I think that is a critical point to many scenes in film, but it becomes a very difficult thing to separate being turned on by a love scene and being physically sexually aroused, since they are (obviously) very closely related. In that sense, intent is key.
As for Warhol, I haven’t seen any of his films, but you seem to be extremely intelligent and you have definitely heightened my interest. I wonder, are his films very accessible, and I mean that in both the physical accessibility and the artistic accessibility for someone who is watching them?
Go to Comment
Your House Is On Fire...You Only Have Time To Grab 10 DVDs (and your pets and family and stuff)...What Are They? over 3 years ago
I think Rohmer’s Six Moral Tales (a friend of mine said if her house burned down that would be all she needed, and I have to agree)
Breathless, Pierrot Le Fou, Kurosawa Box Set (Seven Samurai, Yojimbo, Sanjuro, Hidden Fortress), Fargo, A Clockwork Orange, The Last Emperor, Aguirre, The Wrath of God, and Ivan’s Childhood.
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What films have you walked out on and why ? over 3 years ago
What Dreams May Come – because I hated it.
Pirates of the Caribbean 2 – not even god knows why I went to that movie.
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