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also, ever since i read bouissac's explanation of the "auguste"/"whiteface" dyad (which i was somehow totally unfamiliar with), i've been seeing it everywhere. the unkempt, childish fool and the haughty, composed aristocrat, who reveal social dynamics by playing off of each other
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this one struck me as key. in terms of what the point of a lot of humor, but especially clown humor, is. by being an idiot about rules and logic, you reveal the rules and logic.pic.twitter.com/W7P16vMXyn
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random book rec: "the semiotics of clowns and clowning," which has been giving me many great insights about the history and structure of humor.https://www.bloomsbury.com/us/the-semiotics-of-clowns-and-clowning-9781472525086/ …
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('calmos' is about two men escaping marriage and is also possibly the most gleefully misogynistic movie ever made)
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'calmos'/'thelma and louise' double feature for maximum whiplash
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“to sleep with anger” and “the cat in the hat” as vampire stories. stories about inviting a resource-draining force for chaos into your home. what are other examples?
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tempted to argue that the 'plot twist ending' is actually very much not an example of this thing. stuff like 'it was all a dream'; stuff that changes your perception of the entire plot of a movie. more thinking of things that take an established plot in an unexpected direction.
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regardless i like the artistic motivation behind these gestures. i think it's a good instinct--to be bold and weird and complicated. but i'm trying to collect more examples of when it works and when it doesn't.
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was thinking about 'do the right thing' and 'jungle fever' in comparison on this front. because when everything suddenly goes to shit in 'do the right thing' it feels inevitable, even if it's abrupt. whereas when the father shoots the son in 'jungle fever' it's not as built to.
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eg i just watched 'shoot the moon.' and at the very end, when it seems there's going to be a simple and bittersweet divorce-movie resolution, the dad suddenly goes on a rampage in his car, destroying shit. and then gets beaten up.
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what are example of movies with big ending gestures? not twists, exactly. but an unexpectedly dramatic thing happens.
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the cinematography in "thief" is illuminating for me difference between a "polished" aesthetic--which i'd say that many contemporary movies have. and a "classy" aesthetic. both are smoothly competent, but one feels like thoughtless gloss and the other feels like craft.
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half of stephen king's career is that he's an exception
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when will writers learn that 99% of the time writing about writing is the most boring thing in the world and they are not the exception
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at this point, the fact that there are so many movies and tv shows that feel like "art product" instead of story, is old news. the more interesting question is which things from the last decade don't feel like that, and why, and how did they get there.
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it's funny...as more and more criticism has come around to the complaints i've been making about 10's art for years, the more and more tiresome i find it. the complaints are right, but goodness is always going to be a far more interesting and useful topic to me than badness.
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...but to reproduce the feeling of a work in another medium, you not only have to understand precisely what the original work was doing, you have to have a strong lyrical command of the medium you're adapting to.
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the problem of the loyal adaptation is the problem of translation. it's one thing to make an adaptation that is actively hostile to or otherwise commenting on the source material...
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