User:KWatson/sandbox: Difference between revisions

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ample,taken ~~fromhisdiscussion~~ of the successes and failures of cinéma vérité

ample, taken from his discussion of the successes and failures of ''cinéma vérité'' in “A Course on Filmmaking”: “It was as if there was a law that a person could not be himself in front of a camera unless he pretended to be someone other than himself. By that logic, ''cinéma vérité'' would work if it photographed a performer in the midst of his performance” (147). Mailer’s films elaborate upon his ideas about existential filmmaking: it is only in the act of performing as a character (Lieutenant Pope) that the actor reveals himself (Norman Mailer). Pope/Mailer’s sarcastic comment about not respecting the Jews until they showed the Arabs their military might is a line almost directly out of Breines’ ''Tough Jews'', or vice versa, Pope/Mailer’s comment is part of the discourse surrounding the 1968

in “A Course on Filmmaking”: “It was as if there was a law that a person

war that inspired ''Tough Jews''. Either way, with this line, Mailer introduces himself into the lineage of tough Jews but with his own spin. When Pope tells us that Lee Ray Rogers brings out the Italian in him, he speaks for Mailer as well. Because Jewish masculinity for Mailer is always borrowed from and channeled through other ethnic masculinities, Pope’s words are as good as Mailer’s saying that Rogers

could not be himself in front of a camera unless he pretended to be ~~some~~

brings out the Jew in him, and Mailer’s (via Pope’s) tough Jew is always already fighting, whether he is pushing Arabs out of Palestine or fighting to defend his dog’s honor. Thus, much as Mailer helped to unmake cinema as he made it, Mailer makes Jewishness as he unmakes it— masculinity unravels as the film does the same, moving from real to reel.

~~one~~ other than himself. By that logic, cinéma vérité would work if it ~~pho~~

~~tographed~~ a performer in ~~themidstof hisperformance”~~( ).~~Mailer’sfilms~~

elaborate upon his ideas about existential filmmaking: it is only in the act of

performing as a character (Lieutenant Pope) that the actor reveals himself

(Norman Mailer). Pope/Mailer’s sarcastic comment about not respecting

the Jews until they showed the Arabs their military might is a line almost

directly out of Breines’ Tough Jews, or vice versa, Pope/Mailer’s comment is

part of the discourse surrounding the

war that inspired Tough Jews.Ei

~~ther~~ way, with this line, Mailer introduces himself into the lineage of tough

~~Jews—butwithhisownspin~~.~~WhenPopetellsusthatLeeRayRogersbrings~~

out the Italian in him, he speaks for Mailer as well. Because Jewish ~~mas~~

~~culinity~~ for Mailer is always borrowed from and channeled through other

ethnic masculinities, Pope’s words are as good as Mailer’s saying that Rogers

brings out the Jew in him, and Mailer’s (via Pope’s) tough Jew is always al

~~ready~~ fighting,whether he is ~~pushingArabs~~ out of Palestine or fighting to de

~~fend~~ his dog’s honor. Thus,much as Mailer helped to unmake cinema as he

~~madeit~~,Mailer ~~makesJewishness~~ as ~~heunmakesit—masculinityunravels~~ as

the film does the same, moving from real to reel

@@ Line 120: / Line 120: @@
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-ample,taken fromhisdiscussion of the successes and failures of cinéma vérité
+ample, taken from his discussion of the successes and failures of ''cinéma vérité'' in “A Course on Filmmaking”: “It was as if there was a law that a person could not be himself in front of a camera unless he pretended to be someone other than himself. By that logic, ''cinéma vérité'' would work if it photographed a performer in the midst of his performance” (147). Mailer’s films elaborate upon his ideas about existential filmmaking: it is only in the act of performing as a character (Lieutenant Pope) that the actor reveals himself (Norman Mailer). Pope/Mailer’s sarcastic comment about not respecting the Jews until they showed the Arabs their military might is a line almost directly out of Breines’ ''Tough Jews'', or vice versa, Pope/Mailer’s comment is part of the discourse surrounding the 1968
- in “A Course on Filmmaking”: “It was as if there was a law that a person
+war that inspired ''Tough Jews''. Either way, with this line, Mailer introduces himself into the lineage of tough Jews but with his own spin. When Pope tells us that Lee Ray Rogers brings out the Italian in him, he speaks for Mailer as well. Because Jewish masculinity for Mailer is always borrowed from and channeled through other ethnic masculinities, Pope’s words are as good as Mailer’s saying that Rogers
- could not be himself in front of a camera unless he pretended to be some
+brings out the Jew in him, and Mailer’s (via Pope’s) tough Jew is always already fighting, whether he is pushing Arabs out of Palestine or fighting to defend his dog’s honor. Thus, much as Mailer helped to unmake cinema as he made it, Mailer makes Jewishness as he unmakes it— masculinity unravels as the film does the same, moving from real to reel.
-one other than himself. By that logic, cinéma vérité would work if it pho
-tographed a performer in themidstof hisperformance”( ).Mailer’sfilms
- elaborate upon his ideas about existential filmmaking: it is only in the act of
- performing as a character (Lieutenant Pope) that the actor reveals himself
- (Norman Mailer). Pope/Mailer’s sarcastic comment about not respecting
- the Jews until they showed the Arabs their military might is a line almost
- directly out of Breines’ Tough Jews, or vice versa, Pope/Mailer’s comment is
- part of the discourse surrounding the
-war that inspired Tough Jews.Ei
-ther way, with this line, Mailer introduces himself into the lineage of tough
- Jews—butwithhisownspin.WhenPopetellsusthatLeeRayRogersbrings
- out the Italian in him, he speaks for Mailer as well. Because Jewish mas
-culinity for Mailer is always borrowed from and channeled through other
- ethnic masculinities, Pope’s words are as good as Mailer’s saying that Rogers
- brings out the Jew in him, and Mailer’s (via Pope’s) tough Jew is always al
-ready fighting,whether he is pushingArabs out of Palestine or fighting to de
-fend his dog’s honor. Thus,much as Mailer helped to unmake cinema as he
- madeit,Mailer makesJewishness as heunmakesit—masculinityunravels as
- the film does the same, moving from real to reel