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Table of contents
- Film Manifestos and Global Cinema Cultures: A Critical Anthology
- Gary A. Rendsburg : Biblical Literature as Politics
- Our work with young people
- Recommend to a librarian
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Film Manifestos and Global Cinema Cultures: A Critical Anthology
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Read Tabloid Affair, Secretly Pregnant! Modern Heat PDF. Read Tim Rollins and K. Seeds Grow! My First Hello Reader! The coiners PDF Online. The Four Seasons: Autumn Op. Wolfsbane PDF Kindle. Nothing against anyone - if that's what people want; I just find it pretty unsatisfying. Put this paragraph under 'rambling on about current trends'.
Now, as people seem to be put off by any mention of 'great art', I would be happy to continue discussing over e-mail. The trouble is, I myself don't know what the definition of 'great art' is.
You seem to have an idea, as you manage to rule posts Godard out of it. Having a definition would certainly be handy. On the other hand, I am not sure how far back one can go in claiming that some part of culture we have inherited as low or high emanated from the people.
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Perhaps up around the time of Dumas, or a bit earlier. One looks at literacy rates and they are rather dreary up to the sprouting of reading societies and irregular schools in the eighteenth and nineteenth centuries. Possessions of books or forms of fine art by households of other than the wealthy variety only start to overcome the tenth per cent in the eighteenth hundreds as a fraction of total household possessions.
So it might not be too sweeping to suggest that the bulk of 'people's culture' prior to a century before Dumas lay outside literature and fine art. So there was not just a whole part of culture but also a whole discourse about and mode of experience of culture that was inaccessible to a majority of the people without implying if these were good or bad. In such an environment it is easy for a class of people to devise principles for and sustain a concept of 'great art' again without implying anything about these principles.
So my point about responsible vs great art was not so much that the latter might be assimilated by middle-class tastes. Rather that today the latter might not be a viable category at all. And that it might be better to substitute it with a concept more apt to the realities of contemporary - Western - societies. Greatness implies the acknowledgement of principles of superiority and that I suppose is partly what people object to or feel uncomfortable with. Responsibility admits, without loosing reflection, a bit more respect for and recognition of other people's lives, something which I think has been if not sufficient at least necessary for a couple of centuries now.
I couldn't agree more about Joyce and Proust memes, but perhaps to keep things tractable and maybe more alluring to other people, here's a narrower question. What sort of cinematic and social factors worked to pull various directors from the low to the high cultural status? But there are other interesting cases. Fassbinder, for example, who maneuvered the 'lower depths' for some time, both in cinema and theatre, before gaining a more or less 'official' acknowledgement. Throwing this out in case someone takes the bait.
Well in the case of Fassbinder, would one say he's "high brow" or "arthouse"? Frankly, I don't know, and I guess it doesn't matter, but his films nonetheless remain fully conscious of their own subversiveness to the extent they wear it on their sleeves. Is Pialat "arthouse"? I don't know, and I'm sure, for a time, Pialat was seen as somewhat middlebrow in France, considering he won the Palme d'Or for a literary adaptation and won the Cesar award for best film for another one of his works. Yet, many of his films hold up today and transcend the "middlebrow" label.
Gary A. Rendsburg : Biblical Literature as Politics
Likewise Army of Shadows, which wasn't necessarily an "arthouse" film, so this is where things get tricky. Sometimes films require several decades to be placed into context. So today, Haneke may seem the quintessential ersatz Euro arthouse auteur to the extent that his films tend to flatter a certain intelligent but not necessarily cine-literate viewer who's drawn in by his dissection of Big Ideas, but from the vantage point of his films may seem far more than that. One never knows. As for 'cine-literate', I'm referring to the "cahiers" sense of what that would imply.
Pialat, I would think, has fallen quite firmly in the arthouse category. But Fassbinder, yes, I don't know, he's probably part of what could be called cult arthouse. At the same time, like Makavejev, his own self-consciousness rejects it. On the other hand, 'Army of Shadows' and all of Melville's crime films seem closer to Hitchcock in the way they have progressed to a high brow status.
And to Henri-Georges Clouzot? But you hit an interesting spot.
Our work with young people
There's arthouse cinema and there's arthouse viewers, the two not necessarily standing in a one-to-one correspondence, as you suggest with 'cine-literacy'. But in the case of the latter, there's also a question of maintaining an image. So take cinephilia: does a cinephile engage with arthouse, among others cinema, or does she see herself as an arthouse, etc.
Does she engage with the image, or does she create an image, so to speak?
Recommend to a librarian
Or perhaps, both. It's interesting though. If you think about it, they're quite thematically and even stylistically similar, since they both display a certain raw immediacy of expression, and there's always this theme of man helpless in the face of his predicament. Well my response to your second paragraph is that you have your Harry Tuttle's and you have your Ignatiy Vishnevetsky's, and we could probably safely classify both as cinephiles, albeit with different interests and concerns.
I wouldn't say one is a pretender and the other not. But don't get me started on Dan Schneider, who's basically the Roger Scruton of film critics. I will attempt to jump into this conversation. I find the "high" vs. Cinema comes into existence in as we begin to hedge towards a kind of "liberal hegemony" in the 20th century. It is from the very beginning an internationalist affair and a popular art extraordinaire.
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Add into this the invention and mass appeal of television and later internet distribution services and it seems like moving image culture has really crushed these distinctions beyond the point of repair. It seems like the concern here is that because of this people are afraid that "art will disappear into nothing" to which i might counter Cuban filmmaker and theorist Julio Garcia Espinosa's notion that "Art will not disappear into nothingness, it will disappear into everything".
I think if we look at some of the more regular featured folks on this site Jonathan Rosenbaum, Adrian Martin, Nicole Brenez, Catherine Grant, Jacques Ranciere, Quintin, Kevin Lee, Christoph Huber, Steven Shaviro, etc we find individuals that enter into dialogue with a wide range of moving image culture. I have never seen any of the proponents of "vulgar auteurism" that i respect use it in the way you have described above.
I think if anything things are less polarized at this moment in cinephilic history.
My guess is the lack of responses here have something to do with a real distance from this debate. This isn't a real problem for me whether i am talking with cinephiles or "non-cinephiles" about films. Most people can distinguish and at least potentially embrace multiple forms of moving image culture. Craig: I wouldn't disagree with your first paragraph in principle and theory, and the examples of Fassbinder, Hitchcock, Melville, and a slew of others that the division between "high" and "low" may not necessarily be useful, although I'd say the jury's still out on that one.
In light of this, there are a few things I'd like to say. Pursuing filmmaking as if it were an artistic endeavor should not be construed as a sin, even in light of some of the realities of moving image culture that you address. Now is Fassbinder or even Melville a case of "accidental genius"? Personally I don't think so, but I believe it's possible to see one's endeavor as artistic without necessarily fancying it as being from "above".