User:TPoole/sandbox: Difference between revisions
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cards divide the film into sections, though they also place some strain on | cards divide the film into sections, though they also place some strain on | ||
our memory. Each is numbered, though curiously only one of them (''EIGHT: Return of an Old Love'') spells out the number. | our memory. Each is numbered, though curiously only one of them (''EIGHT: Return of an Old Love'') spells out the number. | ||
''Section 9: The Death of a Director'' intercuts images of nudity and sex with | |||
shots of animal bones and Kingsley laying on the ground, as if he has been | |||
murdered. The section also features Jeanne Cardigan licking a microphone before smearing a baby doll (and then herself) with what appears to be blood. Here ''Maidstone'' aligns itself more with the avant-garde movement of the sixties than it does with any documentary film tradition. | |||
Whereas Mailer’s earlier films only allowed actors to acknowledge the camera as their narratives concluded, ''Maidstone’s'' ostensible plotline ends | |||
with ''10: The Grand Assassination Ball'', but two more sections follow. ''11: A Course in Orientation'' features Mailer (not playing Kingsley, but rather playing Mailer the film director) explaining the process by which he made the film to its cast and crew, some of whom voice disappointment that the narrative drive towards Kingsley’s assassination was all for naught. | |||