By Ben Taylor
The booklet begins with Pulgasari--a North Korean Godzilla clone dreamed up by way of Kim Jong-Il and created via a abducted Korean director, with the cheap of thousands and a employees of 7 hundred ate up truckloads of pheasants, wild ducks, and deer. The tales at the back of the opposite 8 motion pictures, from The Adventures of Baron Munchausen and The Twilight region: The motion picture to Apocalypse Now and The Crow, are only as outstanding and gripping--this is a publication movie fanatics will devour.
These strange, frequently hilarious cinematic endeavors make certain that fact is stranger than fiction, truth extra risky than narratives, and destiny extra unbelievable than plots.
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Extra resources for Apocalypse on the Set: Nine Disastrous Film Productions
At the same time, I cannot help notice the paradox that the availability of films on video-tape or DVD has left us with: these very technologies of (digital) storage tend to favor the (contentious) “close textual analysis” as the dominant pedagogical practice, while the films’ ubiquity in a vastly expanded media space tends to contradict such a concentration on the individual film from the point of theory. Structuralism and post-structuralism were in this sense “centrifugal” and dispersive theories of textual ensembles, not ways of conferring closure on a text upon itself.
The Courtship of Eddie’s Father is a particularly striking example, with father and son feeling completely lost in their own home (a family situation common to at least a dozen Minnelli films). And the implications are finally made explicit in Two Weeks in Another Town, where the hero is first seen in a mental hospital. In other words, Minnelli starts from a characteristic disorientation about the relation of self and world, from which originates the impulse towards action. Whatever his protagonists do becomes therefore automatically identified with a desire to realize themselves by transcending an indifferent or restrictive environment.
In other words, it is the exaltation of the artifice as the vehicle of an authentic psychic and emotional reality. Minnelli’s musicals introduce us into a liberated universe, where the total freedom of expression (of the character’s creative impulse) serves to give body and meaning to the artist’s vitality in the director, both being united by their roles as metteurs-en-scène of the self. —epitomized in the sticky, rubbery substance Spencer Tracy has to wade through, as he is trying to reach the altar, in the nightmare sequence of Father of the Bride.