Re: [a_film_by] Brown Bunny, our groiup, and politics (OT)
- Just to weigh in, I agree with what Fred wrote. As Fred notes, a_film_by was
founded partly out of a response to personal insults and the like which
prospered on another film list we belonged to. So if we appear especially diligent
about this matter, hopefully everyone can understand why.
That being said, none of the political posts subsequent to Fred posting his
note have appeared to me to be in violation of our Statement of Purpose, so I'm
pleased that the discussion is remaining at our typically high level. And
I've been reading the posts with some interest. I don't choose to label myself
politically, but it may surprise some to learn that one of my favorite
political magazines is "The American Conservative" (http://www.amconmag.com)... one
of the most vocally anti-war publications I've encountered. It just goes to
show you how far, how very, very far, the neo-cons have strayed from their
- Jake Wilson wrote:
>One wrinkle is that for the last century (as still today) manyThis is a fascinating thread to the discussion. A few months back, I
>commentators of both left and right have seen the cinema itself as
>the epitome of alienating, mechanical inauthenticity, and I have to
>wonder if Welles (and maybe other filmmakers of his generation) felt
>conflicted for this reason about the principal medium he worked in [...]
interviewed Armond White about Spielberg and somehow we got to talking about Welles.
White felt that one of the things Welles was always expressing was a
consciousness of what the world was like before cinema. (I'm paraphrasing here, as I
don't have the interview transcript in front of me.) This seems to me a key
As to Jake's wonderful point about Welles' attempts to re-establish the
immediacy of the artist/audience relationship found in the theatre or oral
storytelling, I have to again (at the risk of sounding like a broken record) bring up
that most wonderful late project of his, "The Magic Show," so much of which is
comprised of Welles' direct address to the audience and which seems to have
been conceived as a particularly audience-friendly movie. I don't mean this in
a negative sense at all. An editor who worked on the film in its latter
stages, Jon Braun, put it to me like this: "What I liked about 'The Magic Show'
was that it was something where you sat back and you could be a kid again."
With its mixture of illusions, narrative, and plain and simple gags, it certainly
achieves this aim, as well as simultaneously connecting with the theme of
Welles' nostalgia, for when Welles speaks in the film of old magicians, or "those
grand old days when every whistlestop had a real live theatre of its own,"
you can hear the nostalgia in his voice.