Wednesday, January 25, 2017

Morris Contra Fordism: A Postulation Against Groupthink(academy awards edition)

Scene, then crowd response.   John Ford liked it best when a crowd was actually in the corner of the scene, on the scene, watching with their own eyes, then he basked in their reactions, as if to give us our own reaction to the scene at runtime.
In the same year, Citizen Kane and How Green Was My Valley vied for the Academy Awards.  While Kane is my preference, Valley was good.  Tres good, and a prototypical example of the Fordism to come, but each film had similarities.  Though the reflecting pool of Citizen Kane was deeper, it, like the John Ford effort, relied on characterizations in subsequent scenes to literally tell us what to think about what we just saw.

But again, Ford preferred the responses literally on the scene, as if happening live.

George A. Romero's work of his most productive period(1975-1982) presented the absolute abandonment of Fordism, with the films Martin and Dawn of the Dead representing kind of a counterpoint.

That should have been the death knell.

And we see the technique largely abandoned in the post-modern work of people like Tarantino.

It's a new day.

I flash-forward to the Oscar winner Man On Fire, which is an isolated revenge piece.  "A bullet always tells the truth" he says.  Focused, but at once oblivious to stray elements that crop by like insubstantial clouds.

A secular humanism pervades now, and is being replaced increasingly by racial apologies.

Wednesday, January 18, 2017

Movie Premise: Divide and Conquer: Hysteria

Lesbianism brought me back to life like in Friday the 13th Part 6.

Because I like to f*ck with people for my larks.

On to the show:

Planet Sappho.  Land of the eternal feminine prime.  They are elfin and soft.  And they touch each other, because there are no men around.

I know what you're thinking.  This could have been Stellar Women's Prison Revolt.  Maybe later.  I'll just put that title back into my pocket for next year's summer blockbuster season.  Big budget.  Tent pole.

(I got your tent pole right here.)

Planet Sappho.  Three astronauts, two being virile men and one an alpha female, land aboard planet Sappho, it being determined by analysis of the color and intensity of it's reflected light to be nearest Earth-like planet.

But the horror that creeps in the darkness....

Men are sold on the porn angle, but a degree of sensuality will sell the womenfolk, too, if for nothing else, an exploration, a consideration of something outside the norm, unless you're in college in which case it happens all over the place like a giant pu**ybomb went off on campus.

Like the tag for Schindler's List, "he who saves one, saves the world entire".  So by end credits, the alpha female has loved and died, and but one decides to go against her nature.

This is experimental.  Like college.

Watching the film-all the scenes of disrobings and touchings-the audience began to feel like they were in the hands of a director who was capable of literally anything.  It was uncomfortable, but tittilating.