The Bright Side Of Ignorance: Thomas Bernhard Analysis Part II

September 12, 2010 § 2 Comments

Withdrawn

In the past few months, three former classmates of mine have committed suicide; they were all friends of mine and kept me company with their arts for almost the whole of my life and were the ones who really made my existence in the least bit possible. The musician killed (shot) himself because people had no ear for his art. The painter killed (hanged) himself because people had no eyes for his art. The scientist, with whom I even went to primary school, killed (poisoned) himself because people, in his opinion, had no head for science. All three had had to withdraw from life because they were in despair over the fact that the world no longer had the feelings or abilities to take in their art and their science. « Read the rest of this entry »

The Bright Side Of Ignorance: Thomas Bernhard Analysis Part I

September 12, 2010 § Leave a comment

The cheeky bastard

Hailing from Austria, Thomas Bernhard has been known for being caustic in his satire of the world he perceives and entwining it with black humor in the most understated and acumen fashion to where he becomes more than a critic, but a, no pun intended, voice imitator; a living, breathing, and uncompromised joke to mirror what most are simply unconscious of, something that makes his plays all the more sincere and his prose subtly sinister in ways that entice a second glance so you can process that, yes, he was betided as your caricature. In his micro-fiction collection The Voice Imitator, Bernhard touches on a great amount of topics, emotionally, politically, and socially, across 104 stories, two of which invoke an elaborative need to discover a resolve, or rather a reason to resolve. « Read the rest of this entry »

Zero-level Encounter in Mike Leigh’s ‘Naked’

September 12, 2010 § 3 Comments

To be both a nihilist and a follower of prophecy is to embody a very rare species of contradiction which very few characters in the past—Shakespeare’s Macbeth, Dostoevsky’s Raskolnikov—have been able to properly contain. David Thewlis’s startling portrayal of Johnny in Mike Leigh’s Naked (1993) is one of these singular characters. Midway through the film, Johnny is taken aback at the claim that he does not believe in God and indignantly replies, “of course I believe in God!” This comes from the same man who, in the initial shot of film, is shown to be either raping or abusing a prostitute and, soon after, steals a car to avoid getting a beating from the prostitute’s friends. « Read the rest of this entry »

Takashi Miike – “Box” Analysis

September 3, 2010 § 18 Comments

With the compilation Three… Extremes, we see very specifically how each director believes a horror movie should “behave” in a sense. With Fruit Chan, you may interpet an overall eeriness and the building of suspense with numerous but vague clues as to what is transpiring. With Park Chan-Wook, maybe he assesses the genre as something that can be self-aware and still manage to shock you. But with Takashi Miike, I feel that, in this case at least, he believes in the theme of silence and stillness, which explains firstly the hollowness of the soundtrack, in turn giving more impression to such sounds as the subtle music box and the shrill setting ablaze of the tent. Secondly, this explains the very slow pacing, giving time to feel the impact of each piece of new information you see. He also generally avoided usual horror elements and only retrieves them sporadically like a trickster. « Read the rest of this entry »

Race and Appearance in Orson Welles’ ‘Touch of Evil’

September 3, 2010 § Leave a comment

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Encased in pounds of excess fat and brandishing an uncharacteristically nasally voice, Welles is nearly unrecognizable here, especially in lieu of his strikingly prim self-reimagining in Mr. Arkadin just three years earlier. From this strange mask alone—or lack of one, since it’s really his lack of beard that completes the illusion—the audience can be altogether certain from the start that something is seriously wrong with Hank Quinlan. Why else would Welles take the effort of creating such a revolting visual monster?

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