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My Night at Mauds but just as enjoyable. Perhaps the best movie about young love I've ever seen, with exquisite performances all around and the beauty of coastal Brittany to top it all off.
Notice how the opening sequence takes its time... and all without musical bombardment!
This is a delightful souffle with deeper flavors than anticipated or apparent at first bite.
What man won't see a bit of himself in young Gaspard?
Follow Ups:
The characteristic theme of Brophy's[5] critique of neocapitalist construction is the role of the participant as observer. It could be said that Derrida suggests the use of neoconstructive materialist theory to deconstruct hierarchy.In ""Contes des quatre saisons," several narratives concerning the common ground between class and society exist. But the subject is interpolated into a neo-capitalist paradigm of reality that includes language as a whole.
If one examines Rohmer's expressionism, one is faced with a choice: either reject the the subversion of reality or conclude that sexual identity has intrinsic meaning. Rohmer, like Foucault, promotes the use of expressionism to attack and analyse society. In a sense, the subject is contextualised into a neoconstructive materialist theory that includes art as a paradox.
The futility, and some would say the genre, of sublime precultural feminism depicted in "Contes des quatre saisons"--as compared to the semiotics of emerges in "Ma Nuit chez Maud," argues strongly for the greater aesthetic power of the former.
Rohmer always examines nihilism, where one is faced with a choice: either reject neodialectic conceptualist theory or conclude that truth is capable of significance, but only if art is distinct from narrativity; otherwise, we can assume that the goal of the reader is social comment. If nihilism holds, we have to choose between Lyotardist narrative and Lacanist obscurity. Rohmer rejects these antinomies--preferring to offer the viewer a view of the rupture of the pre-modernist project and a conservator's view--not unlike a wistful tour of Cezanne's fin de siecle France, set against the conceit of the modern age.
Rohmer themes were not based on putative dialectics, rather character
ambiguity and complexity as reflected in his worldview; quite quantum uncertain IMO. Rohmer was
quite spontaneous in street-shooting,i.e., from Planck Moment to
Planck Moment, with a consequential 'smearing' that belies any
attempts at definitive narrative social commentary. Results are similar to a sort
of 'controlled chaos', hence, Rohmers narrative flow is more akin to turbulent, non-periodic drip than any precisely modulated supra-accurate artistic recreation. ~ AH
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What are your view on "Stars War " XXVVVVV ?I wonder if you could write us a parody about, with the same seriousness as you did, so rightly, I hasten to add, on this one. That must be fun....
...some of you are taking it way too seriously. OTOH for those who like this kind of discourse there's really nothing wrong with it. It's a bit avant-garde, don't you think? Me, I'd like to hear the text sung to an Anthony Braxton tune!
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a pile of steaming horseshit.
For your sake, I hope you don't read this kind of stuff too often and for the sake of your friends and family, I hope you don't comprehend it.
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