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Added by menmoregodly on 28 Jun 2021 03:51
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The Seventh Art: Favorite Directors

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With Mizoguchi, the greatest artist of classical mise en scene
The greatest artist of cinematic modernism
Average listal rating (54 ratings) 7.9 IMDB Rating 0
The three great American masters.

Hawks is the pinnacle of classical Hollywood filmmaking. Ford straddles the line between this kind of classicism, and more forward thinking modernism in approaching American myth. Ray's jittery naturalism eschews classicism and looks forward to another cinematic modernism; not the highly intellectual, very textual modernism of Godard and Kiarostami, but the immediacy and instability of Cassavetes and Altman, where representation is opened to its own negative feedback.
Average listal rating (201 ratings) 8.4 IMDB Rating 0
Especially his later work, where his genius is put no longer to expression of mastery of the popular forms, but a rigorous investigation of these, yet still charged with the same Chaplinesque feeling. The Chaplin of A King in New York may seem like a man settling scores, but in a lot of ways he charted the territories of which the French New Wave directors claimed themselves sovereign.
Rivette and those that follow embody to me the great tradition of modernist filmmaking in all its wonderful variety.

Rivette's films are the most sublime exploration of theatre and cinema as domains of the creative act.
Ray's films revealed the potential for film as a medium of affect above intellect, of raw, immediate experience over symbolism. With Cassavetes, this preference becomes a first principle adhered to with almost embarrassing conviction.

Both Cassavetes and Altman conceived of the New Hollywood as a space in which the old representational modes succumb to entropy (significantly, William Gaddis thought Altman could adapt his epic novel on that very subject, JR) within the temporal. Both have been read by bad readers (many of whom grew up to be bad filmmakers working in what they believed to be imitation of these models) as being in pursuit of "realism," though an understanding of their films demands an appreciation for how little "Realism" as it is practiced has to do with the real.

Altman's films seem, at first glance, more formally sophisticated, and indeed I think no one can argue against his superior mind for formal design. Altman, however, remains a victim to the cheap cynicism of his generation. The commentary on genre is never deeper than the mean-spiritedness of Polanski or de Palma. No one cares about Altman any more; people, bizarrely, perversely, care about Pauline Kael and keeping her parasitic influence alive, but never the art. Cassavetes, in his eminently human willingness to assay the new in American cinema, emerges as a giant
Average listal rating (56 ratings) 7.1 IMDB Rating 0
or, the Daemon

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