User:TPoole/sandbox: Difference between revisions

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In other words, rather than simply being inspired by a movement that had stopped moving, Mailer conducted his own fictional experiments while direct cinema was the prevailing force in documentary film. His films not only appropriated then-recent film history, but also engaged in a conversation with the unfolding present. Perhaps that is why, as Mailer tells us in “A Course in Filmmaking,” his ideas were a “conception which was more or less

his own, and he did not feel the desire to argue about it” (217). Put another way, he did not believe his films incorporated very much film history.

his own, and he did not feel the desire to argue about it” {{sfn|Mailer|1971|p=217}}. Put another way, he did not believe his films incorporated very much film history.

Of Mailer’s first three films, the inaugural ''Wild 90'' is the most austere. Onscreen text informs us, “Once three guys from Brooklyn were hold up in

@@ Line 61: / Line 61: @@
 In other words, rather than simply being inspired by a movement that had stopped moving, Mailer conducted his own fictional experiments while direct cinema was the prevailing force in documentary film. His films not only appropriated then-recent film history, but also engaged in a conversation with the unfolding present. Perhaps that is why, as Mailer tells us in “A Course in Filmmaking,” his ideas were a “conception which was more or less
-his own, and he did not feel the desire to argue about it” (217). Put another way, he did not believe his films incorporated very much film history.
+his own, and he did not feel the desire to argue about it” {{sfn|Mailer|1971|p=217}}. Put another way, he did not believe his films incorporated very much film history.
 Of Mailer’s first three films, the inaugural ''Wild 90'' is the most austere. Onscreen text informs us, “Once three guys from Brooklyn were hold up in