Cancel List of Bookmarks Curiously, what made me give up all interest in the problems of blacks was not their virulent racism, their horrendous rates of crime, or their parasitism. Instead it was the assaults by blacks and their fellow travelers on Confederate monuments, particularly in New Orleans. For reasons doubtless opaque to the historically ignorant, this annoys me. Now I find the black mayoress of Baltimore—a city lovely and livable in the time of Mencken before being made a decayed war zone by blacks—threatening monuments in that city.
For Part 2 of this Blogpost, Click Here. Alain Resnais was one of the more enigmatic figures in cinema. Though well-known and widely admired in the film community, he failed to garner the long-term attention and following of other French film-makers such as Francois Truffaut, Jean-Luc Godard, Claude Chabrol, Eric Rohmer, and others.
Resnais, though Gangsta rappers nihilistic villains essay than most of the famous French New Wave directors, managed to outlive most of them. Why was Resnais eclipsed by the likes of Godard and Truffaut?
Were Truffaut, Godard, and Chabrol, among others, more referential to American cinema and culture, thus making them more engaging and exciting, at least for American critics and viewers?
Was there an age factor?
Being, on average, yrs older than most New Wave directors, did he lack their youthful spirit and spark? But Eric Rohmer was even older than Resnais, yet many of his films continued to be released across art house theaters in America in the 80s and 90s.
Who-decides-these-things-and-why is a topic for those who know the ins-and-outs of film distribution. Robert Bresson may not have been the most popular director that ever lived, but there was an unshakeable force, a mulish stubbornness, that compelled attention.
His cinema may not look straight at you, but it stands in front of you; it obstructs your path and refuses to budge. The viewer is made to feel like a kid trying to figure out why the refrigerator light goes out when he closes the door. A bunch of phony-baloners. Finally, tied at is a film by Alain Resnais: After the top 20, the list grows ever more suspect.
It is also too detached for tragedy and overly somber for satire. Its appeal as a slick art film with big stars, sterile tragedy, anti-Americanism is understandable, but 21? SHOAH surely made the list for its subject matter and pretentiousness. No sane person can, with genuine honesty, claim to like it.
Among cinephiles, Godard is like a god. Maybe many voters were using the list to show solidarity with cinema-as-radical-statement-and-movement. Some critics probably voted for films that they thought no one else would while others voted strategically to help certain films rise up the ranks.
After all, plenty of academics and serious film critics have high regard for Resnais, not least because of his modernist experimentalism and ideological leftism. Some of the most influential critics in the past 30 yrs such as Dave Kehr, Jonathan Rosenbaum, and J.
But then, why the relative lack of a cultist following among cinephiles? Just how did Chantal Akerman manage to get one in at 36? Perhaps, one reason is the relative lack of association with events-favored-by-the-left in the films of Resnais. Hiroshima may have been a major event, but the Holocaust is what matters in our times.
Though the subject can still touch a nerve in France, it means little outside France. Thus, it comes across less as a propaganda for what has been done than a proposition of all the things that might be done. Also, with the camera used as metaphor for self-conscious mind of the revolution, it is as much about psychological revolution as social revolution, and of course, psychology is more universal and timeless than politics.
Even non- and anti-communist critics and scholars sympathized with the element of rebellion and uprising, the dream of a new order, as depicted in the film.
While its use of montage still remains powerful and fresh, the narrative now seems cartoonish and even distasteful, given the bloody history of communism and its ignominious downfall.
Since its less blatant in its political expression, it can be admired for its intellectual and formal qualities. On the other hand, since Vertov was a communist, his film can stand for the hope of true liberation and experimentation that had supposedly been the hallmarks of the early years of the Revolution that was betrayed by Stalin and his goons, i.
Before Stalin went after the avant-garde Marxist artists, the latter had supported the total destruction of anti- and non-leftists artists and intellectuals.
The resulting films were so terrible that even hardcore leftists generally avoided them — or could hardly stay awake through them —but the Godard mystique surely helped revive interest in Vertov by association. Since no one cares about the films of the Dziga Vertov Group, why not profusely praise the most famous film by Vertov himself?
Some of these films clearly have resonances beyond the aesthetic. Though there are plenty of French films that are greater, BREATHLESS had a greater cultural impact than most, and its verve and spirit have inspired several generations of would-be film-makers, especially with the digital camera having made everyone a film-maker of sorts.Jailtracker Mason County Ky, Best Spy Application to Spy on text messages for iOS Devices!
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As. Movies by Genre - Comedy() Title Year Director Genre Rating Runtime Added $ Several criminals use safe deposit boxes in a German bank to store large amounts of illicit cash. A.
SENTENCE, SENTIMENT "a stunning piece of visual poetry that will, hopefully, be remembered as one of the most important stories to be told in australia's film history. ", POSIT. Start studying Music Exam 4 (essay questions).
Learn vocabulary, terms, and more with flashcards, games, and other study tools. making it more of an artsy aesthetic that conveyed an irony and not anger and nihilism --gangsta rap- celebrated violence and hedonism of .