User:TPoole/sandbox: Difference between revisions

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Consider, for example, Francois Truffaut’s remark that he liked Hollywood films because they were so similar to one another. Despite technological changes, aesthetic evolutions, and generic boundaries, it is easy to argue that Hollywood films always have more in common with one another than they have differences. By extension, the same could be said of all narrative cinema, whenever and wherever it is produced.

Mikhail Bakhtin once referred to the novel as a genre {{sfn|Bakhtin|1981|pg=~~3-40~~}}. Foregoing my early devotion to auteur theory and the uniqueness of particular film directors, I might well be led to a similar conclusion about the cinema, at least on some days of the week.

Mikhail Bakhtin once referred to the novel as a genre {{sfn|Bakhtin|1981|pp=3–40}}

. Foregoing my early devotion to auteur theory and the uniqueness of particular film directors, I might well be led to a similar conclusion about the cinema, at least on some days of the week.

In years past, I have given many lectures on the importance of modern

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Long before most persons even knew what amockumentary filmis—and even some time before Orson Welles’ important cinematic experiment ''F for Fake'' (1975)—Mailer tore down the genre’s walls. With ''Maidstone'', he marched into a more complicated terrain, one that proposed to re-examine the very nature of the cinema. Here Mailer chased the authentic, an elusive property that seems to be chimerically reconstituting itself in front of his cameras.

I submit that Mailer’s first three films are important to film history and that their general absence from discussions of documentary film, mockumentary film, and the films of the sixties represents a gap that limits those of us interested in the cinema far more than it does Mailer.And while ''Tough Guys Don’t Dance'' never rises to the level of importance of Mailer’s earlier films, I believe that it can speak volumes about the rarely discussed issue of self-adaptation.

In ''Wild 90'', Norman Mailer (as Prince) asks who invented the hammer.

Norman Mailer did not invent the hammer. Nor did he invent the wheel.

But in the best tradition of films like ''Citizen Kane'' (1941), he borrowed various elements from prior films and reassembled those ideas anew. Rather

than regurgitate via remake and rather than appropriate via homage, Mailer

reinvented past practice. He reinvented a cinematic wheel, and more film historians need to keep it turning.

===Citations===

===Works Cited===

* {{cite book |last=Bakhtin |first=Mikhail |date=1981 |chapter=Epic and Novel |editor=Michael Holquist |title=The Dialogic Imagination |location=Austin |publisher=University of Texas Press |pages=3–40 |ref=harv }}

* {{cite web |url=http://www.imdb.com/title/tt0169606/ |title=Beyond the Law |date=2011 |website=Internet Movie Database |publisher=IMDb.com |access-date=10 October 2011 |ref=harv }}

* {{cite web |url=http://www.imdb.com/title/tt0064625/ |title=Maidstone |date=2011 |website=Internet Movie Database |publisher=IMDb.com |access-date=10 October 2011 |ref=harv }}

* {{cite book |last=Mailer |first=Norman |date=1971 |chapter=A Course in Film-Making |editor=Theodore Solotaroff |title=New American Review 12 |location=New York |publisher=Simon |pages=200–241 |ref=harv }}

* {{cite AV media |people=Norman Mailer (director) |date=1970 |title=Beyond the Law |type=Film |publisher=Evergreen |language=English}}

* {{cite AV media |people=Norman Mailer (director) |date=1970 |title=Maidstone |type=Film |publisher=Supreme Mix |language=English}}

* {{cite AV media |people=Norman Mailer (director) |date=1987 |title=Tough Guys Don't Dance |type=Film |publisher=Golan-Globus |language=English}}

* {{cite AV media |people=Norman Mailer (director) |date=1967 |title=Wild 90 |type=Film |publisher=CineMalta |language=English}}

* {{cite AV media |people=François Truffaut (director) |date=1959 |title=The 400 Blows |type=Film |publisher=The Criterion Collection |language=French}}

{{DEFAULTSORT:Reinventing a New Wheel: The Films of Norman Mailer}}

@@ Line 4: / Line 4: @@
 Consider, for example, Francois Truffaut’s remark that he liked Hollywood films because they were so similar to one another. Despite technological changes, aesthetic evolutions, and generic boundaries, it is easy to argue that Hollywood films always have more in common with one another than they have differences. By extension, the same could be said of all narrative cinema, whenever and wherever it is produced.
-Mikhail Bakhtin once referred to the novel as a genre {{sfn|Bakhtin|1981|pg=3-40}}. Foregoing my early devotion to auteur theory and the uniqueness of particular film directors, I might well be led to a similar conclusion about the cinema, at least on some days of the week.
+Mikhail Bakhtin once referred to the novel as a genre {{sfn|Bakhtin|1981|pp=3–40}}
+. Foregoing my early devotion to auteur theory and the uniqueness of particular film directors, I might well be led to a similar conclusion about the cinema, at least on some days of the week.
 In years past, I have given many lectures on the importance of modern
@@ Line 285: / Line 286: @@
 Long before most persons even knew what amockumentary filmis—and even some time before Orson Welles’ important cinematic experiment ''F for Fake'' (1975)—Mailer tore down the genre’s walls. With ''Maidstone'', he marched into a more complicated terrain, one that proposed to re-examine the very nature of the cinema. Here Mailer chased the authentic, an elusive property that seems to be chimerically reconstituting itself in front of his cameras.
+I submit that Mailer’s first three films are important to film history and that their general absence from discussions of documentary film, mockumentary film, and the films of the sixties represents a gap that limits those of us interested in the cinema far more than it does Mailer.And while ''Tough Guys Don’t Dance'' never rises to the level of importance of Mailer’s earlier films, I believe that it can speak volumes about the rarely discussed issue of self-adaptation.
+In ''Wild 90'', Norman Mailer (as Prince) asks who invented the hammer.
+Norman Mailer did not invent the hammer. Nor did he invent the wheel.
+{{pg|181|182}}
+But in the best tradition of films like ''Citizen Kane'' (1941), he borrowed various elements from prior films and reassembled those ideas anew. Rather
+than regurgitate via remake and rather than appropriate via homage, Mailer
+reinvented past practice. He reinvented a cinematic wheel, and more film historians need to keep it turning.
+===Citations===
+{{Reflist}}
+===Works Cited===
+{{Refbegin}}
+* {{cite book |last=Bakhtin |first=Mikhail |date=1981 |chapter=Epic and Novel |editor=Michael Holquist |title=The Dialogic Imagination |location=Austin |publisher=University of Texas Press |pages=3–40 |ref=harv }}
+* {{cite web |url=http://www.imdb.com/title/tt0169606/ |title=Beyond the Law |date=2011 |website=Internet Movie Database |publisher=IMDb.com |access-date=10 October 2011 |ref=harv }}
+* {{cite web |url=http://www.imdb.com/title/tt0064625/ |title=Maidstone |date=2011 |website=Internet Movie Database |publisher=IMDb.com |access-date=10 October 2011 |ref=harv }}
+* {{cite book |last=Mailer |first=Norman |date=1971 |chapter=A Course in Film-Making |editor=Theodore Solotaroff |title=New American Review 12 |location=New York |publisher=Simon |pages=200–241 |ref=harv }}
+* {{cite AV media |people=Norman Mailer (director) |date=1970 |title=Beyond the Law |type=Film |publisher=Evergreen |language=English}}
+* {{cite AV media |people=Norman Mailer (director) |date=1970 |title=Maidstone |type=Film |publisher=Supreme Mix |language=English}}
+* {{cite AV media |people=Norman Mailer (director) |date=1987 |title=Tough Guys Don't Dance |type=Film |publisher=Golan-Globus |language=English}}
+* {{cite AV media |people=Norman Mailer (director) |date=1967 |title=Wild 90 |type=Film |publisher=CineMalta |language=English}}
+* {{cite AV media |people=François Truffaut (director) |date=1959 |title=The 400 Blows |type=Film |publisher=The Criterion Collection |language=French}}
+{{Refend}}
+{{Review}}
+{{DEFAULTSORT:Reinventing a New Wheel: The Films of Norman Mailer}}