Word: visualizing
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Dates: during 1970-1979
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...laugh response, which would indicate a sort of alienation produced by shapes which we consider to be pop art shapes or comic strip shapes. And this is basically the underlying thing in A Man's A Man: this experiment which led me to believe that if I pushed the visual concept of Brecht into a pop art setting I could create the type of alienation effect that he created with he expressionism-so that in back of it there is this sort of experiment working in my mind...
...catch up. The so-called "black humorists" of the early 1960s-Joseph Heller, John Barth, Terry Southern among others-are only now beginning to have their books made into films. On the face of it, they make prime movie material. Crazy, anarchistic, sometimes scurrilous, they seem to offer endless visual possibilities for acerbic comedy. But the problems of adaptation are also uniquely difficult. Much of the wit of these books comes not from situation, but from tone and style, brittle qualities that tend to disintegrate before the camera's demanding...
...imagery of the film is as obvious as the plot. When Mark is refused a free sandwich, Antonioni cuts to an oversize billboard advertising sandwich bread. Los Angeles, used as a metaphor for America, is portrayed largely in visual cliches: billboards, TV commercials, neon lights, gun stores, crowded freeways, shabby neighborhoods. The brief footage of riot and bloodshed seems child's play compared with Medium Cool, and the musical score-made up mostly of contemporary rock tunes-is so uncertainly used as to appear superimposed. The two newcomers who play the leading roles are, like the film itself, pretty...
...greatest strength of surreal "anti-theater" is, in point of fact, intensely theatrical: visual images that slice faster than pain can follow to the deepest resources of the imagination. No one else's emblems of the irrational at the core of man-not Jean Genet's black white Negroes, not Samuel Beckett's ashcans, not even Jerzy Grotowski's Holy Auschwitz-are quicker or more deadly than Eugene lonesco's best: when he bothers to aim, he can knock the cigarette from one's lips at 40 paces. As Death and the nun came...
...Sympathy for the Devil has its problems, particularly in the second half, but it also contains flashes of intellectual and visual brilliance. Perhaps we can forgive Godard his unease about being a revolutionary who makes films and feeds on the movement he supports. Just as we can forgive the Stones for feeding on black music. If it weren't for Godard and the Stones, how would we know ourselves...