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The Mailer Review/Volume 3, 2009/Commando Raids on the Nature of Reality: Difference between revisions
The Mailer Review/Volume 3, 2009/Commando Raids on the Nature of Reality (view source)
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{{Byline|last=Rhodes|first=Gary D.|url=https://prmlr.us/mr03rho |abstract=An examination of the ''cinéma verité'' movement in terms of its influence on ''Maidstone'' (1970), a film that attempts to offer unfettered access to “reality.” }} | {{Byline|last=Rhodes|first=Gary D.|url=https://prmlr.us/mr03rho |abstract=An examination of the ''cinéma verité'' movement in terms of its influence on ''Maidstone'' (1970), a film that attempts to offer unfettered access to “reality.” }} | ||
{{dc|dc=F|ilms exist | {{dc|dc=F|ilms exist in many places}}. A film is in a reel stored inside of a can. | ||
A motion picture is encoded onto a shiny DVD that sparkles like a rainbow when held up to the light. But at the same time, those are just objects that contain films. We experience films not by staring at a reel or at | A motion picture is encoded onto a shiny DVD that sparkles like a rainbow when held up to the light. But at the same time, those are just objects that contain films. We experience films not by staring at a reel or at | ||
a disc, but by gazing elsewhere, at a screen. But even the theatre or television screen is not a film’s permanent home, certainly not in the same way that a frame provides to a painting. No, at best it is a fragile, temporal relationship, with the film bounded by opening credits and fades-to-black. The film exists for a short while, until it reaches The End and the screen goes dark. | a disc, but by gazing elsewhere, at a screen. But even the theatre or television screen is not a film’s permanent home, certainly not in the same way that a frame provides to a painting. No, at best it is a fragile, temporal relationship, with the film bounded by opening credits and fades-to-black. The film exists for a short while, until it reaches The End and the screen goes dark. | ||