|On the shoulders of the great|
Literary critic Hugh Kenner pronounced the effort 'Joycean.' Audiences, he wrote, 'know that when the figure who casts huge shadows on orange cliffs turns out to be Elmer Fudd, they're simultaneously regarding a Fuddy emulation of the demon through whom Fantasia dramatized Moussorgsky's violent music, and watching one more Fuddian attempt at grandiosity, and coping with an inept impersonation of Siegfried, and engaged with yet another episode of 'Kill the wabbit!' That's four layers at least.' Such musings made Chuck Jones nervous, but he allowed there was some substance to them: 'I know it sounds pretentious, but our most effective sequences always had literary, and sometimes theological, foundations. And we used classical music whenever possible. That's why these little films have endured when so many longer ones have become antiques. We were cartooning on the shoulders of the great.'
— Stefan Kanfer, City Journal
> I didn't know you were moving to Boston. Discuss.
i've been insinuating for some time now. i'm doing it because my sister lives in the area and because several key friends and potential collaborator/discussants live there. you top the list. but i realize you may move around. but even if you do. i can't imagine you could stay away long. and it's close to new york as well. many reasons. also because there's always the chance i could be an extra on 'this old house.'
>it's disingenuous to think it can be criticized as only a visual spectacle.
agreed. but there is more. there is mood. there is music. there are characters which may fail, as you see them. but i feel differently about the characters. i will explain more later.
> I watch these films solely b/c you tell me to, so
and you should. just because you hate every film i recommend is certainly no reason to stop taking my recommendations. as 'paul' explains in Capri - it's important if the film can ilicit strong feelings - even if those feelings are anger and resentment and disgust and cetera—peter cetera i mean, god i hate his music—anyway, a reaction is a reaction and this can always lead to fruitful degustation. if you wish to form the anti-godard school of filmmaking—i will be happy to write about it on the site.
> And I'd be happy to do films. I even have some ideas for short films of my own.
of course you do. and i will be happy to film them. you must be satisfied w/ horrible resolution and christian amun-poor sound quality. until i can afford a real movie camera.
> I saw lots of echoes of L'Aventurra in Mepris. The putting on the wig — switching from a blonde to brunette, which is the reverse processs of L'A. The lingering shots of the rocks, near Capri. Etc.
agreed. there were those echoes. oh, and by the way, when he says 'the Greeks' understood nature, I think he meant by reverse extension that Homer understood nature. I don't think he meant that all Greeks understand nature—perhaps giving too much credit to the Greek people is what bothered you? if so, i apologize for him. c'est ma faute.
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