User:TPoole/sandbox: Difference between revisions

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THE IRON TONGUE

</div>

The fact that one of these title cards uses the very word “fantasy” indicates

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corrupt” when he meets a woman at a restaurant who has earlier been arrested for taking part in an S&M party.

''Beyond the Law'' ends with Lieutenant Pope, Mickey Burke, and Rocco Gibraltar staring into the camera. Like ''Wild 90'', the taboo is violated, but here it is more pronounced. Three characters acknowledge us, the audience who has been staring at them.

''Beyond the Law'' ends with Lieutenant Pope, Mickey Burke, and Rocco

Gibraltar staring into the camera. Like ''Wild 90'', the taboo is violated, but here it is more pronounced. Three characters acknowledge us, the audience who has been staring at them.

For Mailer, the complicated interplay between documentary film aesthetics and fictional film narratives culminated in his third film, ''Maidstone''. Much as Oliver Stone’s work with fact and fiction (as in his use of mixed media and what he termed “vertical editing”) moved from ''JFK'' (1991) through ''Natural Born Killers'' (1994) to ''Nixon'' (1995), so too did Mailer’s interest in filming “fiction in documentary form” move from experimentation to mastery.

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''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.

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

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The fight scene gave Mailer “a whole new conception of his movie.” He believed that his filmmaking process had created a “presence” that outlived the conclusion his original storyline and what had only seemed to be the end of the shoot. It was an event that took ''Maidstone'' closer to the “possible real nature of film” {{sfn||Mailer|1971|p=238}}.

And perhaps closer to real the nature of the filmmaking process. After all, those eight tense minutes between Mailer/Kingsley and Rip/Rey include six

And perhaps closer to real the nature of the filmmaking process. After all,

those eight tense minutes between Mailer/Kingsley and Rip/Rey include six

edits. Something is there for us to see, whatever it is and whatever it depicts,

but something has been left out as well, removed from our view.

@@ Line 157: / Line 157: @@
 THE IRON TONGUE
 </div>
+{{pg|175|176}}
 The fact that one of these title cards uses the very word “fantasy” indicates
@@ Line 175: / Line 177: @@
 corrupt” when he meets a woman at a restaurant who has earlier been arrested for taking part in an S&M party.
-''Beyond the Law'' ends with Lieutenant Pope, Mickey Burke, and Rocco Gibraltar staring into the camera. Like ''Wild 90'', the taboo is violated, but here it is more pronounced. Three characters acknowledge us, the audience who has been staring at them.
+''Beyond the Law'' ends with Lieutenant Pope, Mickey Burke, and Rocco
+{{pg|176|177}}
+Gibraltar staring into the camera. Like ''Wild 90'', the taboo is violated, but here it is more pronounced. Three characters acknowledge us, the audience who has been staring at them.
 For Mailer, the complicated interplay between documentary film aesthetics and fictional film narratives culminated in his third film, ''Maidstone''. Much as Oliver Stone’s work with fact and fiction (as in his use of mixed media and what he termed “vertical editing”) moved from ''JFK'' (1991) through ''Natural Born Killers'' (1994) to ''Nixon'' (1995), so too did Mailer’s interest in filming “fiction in documentary form” move from experimentation to mastery.
@@ Line 197: / Line 203: @@
 ''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.
+murdered. The section also features Jeanne Cardigan licking a microphone before smearing a baby doll (and then herself) with what appears to be
+{{pg|177|178}}
+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
@@ Line 212: / Line 222: @@
 The fight scene gave Mailer “a whole new conception of his movie.” He believed that his filmmaking process had created a “presence” that outlived the conclusion his original storyline and what had only seemed to be the end of the shoot. It was an event that took ''Maidstone'' closer to the “possible real nature of film” {{sfn||Mailer|1971|p=238}}.
-And perhaps closer to real the nature of the filmmaking process. After all, those eight tense minutes between Mailer/Kingsley and Rip/Rey include six
+And perhaps closer to real the nature of the filmmaking process. After all,
+{{pg|178|179}}
+those eight tense minutes between Mailer/Kingsley and Rip/Rey include six
 edits. Something is there for us to see, whatever it is and whatever it depicts,
 but something has been left out as well, removed from our view.