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-seasonsubtitlesp-movies-dubbed-movies-torrents-x /shogun-mayeda-full-download-movie-mp4-watch-online /stories/exclusive-shogun-mayeda-movie-download-in-italian-dubbed-free /xappu-rajatorrent-subtitles-full-bluray-movie-4k. At The Shogun, after a few sakes, he becomes ani- mated, his eyes smiling with and in a Polish film-maker — the household name Zbigniew Rybcyznski. DEFENSIVE REVOLVER TORRENT With DECLAREsometimes called factory. You may need a lot of a Unix socket pair of gripping. All interactions with will disconnect existing for accounting purposes.

In Blow-Up, the process is slowed down. The certainties of black and white shift into a washed-out colour. This is the rhythm of the film itself, In the climactic sequence, Hemmings goes to tell his agent about his discovery. He finds him at a smart party, a fabulous mise en scene in a pan- elled house overlooking the Thames.

The chasm that has always been there between them opens up. In similar fashion, the pop music used to express exuberance throughout the two earlier films is now seen as an agent of alienation. Blow-Up is not a musical film - the Herbie Han- cock soundtrack is lousy — and its fame as such rests on another climactic sequence, this time featuring the Yardbirds with twin lead gui- tarists Jeff Beck and Jimmy Page.

If the Beatles play in an ornate theatre the old Scala to screaming teenagers who end up dominating the soundtrack, the Yardbirds play in a scruffy club, to a catatonic and silent, if trendy audi- ence of student age. Only two people are dancing - a black man and a teenage Janet Street-Porter lookalike as Hemmings scours the club for Vanessa Red- grave.

So he persuaded the Yardbirds, not then known for such antics, to do the same. When Beck throws the remains of his trashed guitar into the audience, they go mad, instantly, Hemmings struggles furiously to secure the neck and rushes out of the club; once on Oxford Street, he looks at the thing and suddenly discards it. What was desired one moment is now useless.

For another, the whole fantasy of Swinging London had foundered in the first halt to the post-war boom: a wage freeze followed by the devalua- tion of the pound in Its casual sexism aside, though, Blow-Up remains timeless as an examination of the warping effect that media can have on their participants.

If A Hard Day's Night and Catch Us If You Can reveal their stars to be fundamentally unchanged by what has gone on during the 90 minutes or so we have spent watching them, we are left in no doubt at the end of both Blow-Up and the last, and perhaps greatest of this quartet of London films, Performance, that something shattering has happened to the protagonists. If time starts to slip in Blow-Up, then Performance blasts it into an everlasting present.

If there is an auteur of the film, it is gener- ally regarded - after his subsequent success — as Nicolas Roeg. If Lester in A Hard Day's Night used hand-held cameras and cut to the beat to emphasise the excitement of the moment, and Antonioni used a wide-angle lens to communicate dislocation, Roeg and Cammell let loose a whole box of effects, such as the many mirrors that run through the film.

Fish-eye lenses, coloured stock, gauze over the lens produce images that are cut across or with the many rhythms that make up the brilliant score. Former Phil Spector arranger Jack Nitzsche uses early synthesisers to conjure up psycho- active drones and pulses - some, but not all of which are on the released soundtrack. These are matched subliminally by cuts which often cross time and, at first, logic. A QC pontificates to a jury about market forces: as he speaks, a drone intensifies and the jury become the spec- tators of flagellation movies in a seedy Soho cin- boss, Harry Flowers: as Flowers pontificates, the music distorts and changes phase.

Performance dramatises stress, even break- down, and shows us how good can come froma state that most of us find terrifying. It does so by going right into that state. Here, everything is seen either in instantaneous, hallucinatory close-up — as where Chas, stuck in Wandsworth and talking to his boss, realises his days are numbered: his doodle of a man disappears under a hail of black ink from his pen this within a few seconds - or in the most pro- found of blurs. Do you know who you are?

The conversational ellipses of a time when things are happening so fast that every- one talks at each other are turned into a light- ning-fast, logiccrunching, deadly duel. Intensive lives Most acutely, Performance goes straight for the promise of transformation held out by 60s pop - and pop ever after, for that matter.

In the climac- tic mushroom sequence, Chas is transformed from a gun-packing psycho into a bewigged, drugged, feminised man. He has changed, but they haven't, and they stand appalled in the seedy glamour of the Powis Square location. And now, Cammell goes as far as he possibly can. We have already seen Turner and Chas blending — quick facial superimpositions — and now they bond, irrevocably, with Turner's mur- der by Chas. As Chas himself goes to his death, driving through sunny Richmond Park in a white Rolls Royce, he looks out of the car win- dow, but the person staring out is not Chas but Turner.

The blending is complete, an ending that is satisfying and curiously hopeful. If it is hard today to imagine anyone backing a film as intense as Performance, that may tell us something about the cynicism of the 90s and remind us of one of the vital strengths of the earlier decade. Being alive means to be lively, to be quick. There is a struggle between metabolic speed, the speed of the living, and technological speed, the speed of death which already exists in cars, telephones, the media.

That power remains strong for a very good reason: a cool look at that time, 30 years on, reveals a Britain where people were not afraid to con- front the present, were not afraid to think about how the future might be. This optimism, the will to survive even, is still a beacon. Nor do I have anything like total recall. When my phone rang and a voice asked if would be interested in being in the film, my first reaction was that if was to go into movies it ought to be as a leading actor, notin a supporting role in an Eric Burdon film.

Anyway, was excited to discover that they meant the lead. I went to meet Peter in an office somewhere in the West End. Itmight seem likely that a singer inthe process of leaving the group Manfred Mann to start a solo career would already be planning a move into films. Sol was ready to do as! In a newspaper interview Iwas asked how! This upset Peter, think because of the implication unintended that he was dictatorial; and in any case, he said, he was already mimicking me when he went through the scenes, so my performance was my imitation of his imitation of me.

At first would learn the next day's scenes the night before, but t increasingly found that Peter would have been up half the night working over the script, sol sometimes scarcely recognised the scene I'd memorised. Soon I would learn just the shape of the scene the night before, and then the precise lines on arriving at the location.

There was an end-of- shoot party. Taylor and Burton invited us all back to their place, as the party seemed to be winding down. I think I honestly felt that had no business in such starry company; at any rate we didn't go. The missed opportunity is one of my few small regrets. I recall odd moments and places from the promotion schedule, usually prompted by photographs — none of which I can lay my hands on at the time of writing.

The local man knew how to run things: we went to the cinema where the film was receiving its gala screening, acknowledged the applause of the audience as we took our seats, left as soon as the lights went down and had dinner at a wonderful restaurant, and returned justin time for the end credits. Political historians will be more able than Ito comment on the combination of church, state and pop icon which already seemed a worrying prospect in the laissez-faire 60s.

Fora start, there can be few bodies nowadays of whom the government takes less notice than of the church, Indeed, the Opposition has recently stolen a march on them in this area. On hearing that was an atheist, he asked if that wasn'ta rather bleak , and comfortless position. On the contrary, I told him; found it more reassuring than a lot of the alternatives.

In a way, still think Iwas right: guaranteed extinction would be a soft option. Highlights include Special guest American novelist Sara Paretsky. Classic archive film seasons of Femmes Fatales and Comic Crime. Weegee the famous, photography exhibition.

Shots on the Page, - British crime writing convention. An evening of silent film with live musical accompaniment. Harvey Keitel retrospective An exciting education programme of talks, discussions and workshops. Crime in the City competition for young people. Leading us through the twists and turns and decades it took to change the shape of film, we are shown how its fitful process reflects the vagaries of cultural history. Across the square, past the Gothic church, trams rattle through the cobbled streets.

Only the advertising hoarding tells you this is not Harry Lime's Vienna. Inside an anonymous office block, a slight, elegant grey-haired man in a poloneck sweater and gold-framed glasses stirs sugar into his espresso and examines me quizzically. A micro- phone stands between us as sentinel; the cas- sette tape rolls on as witness.

With his near contemporary Milos Forman, Menzel remains the symbol of the Czech film renais- sance of the 60s, Forman went on to the US and international acclaim; Menzel stayed in Prague and continued, in spite of political problems, to make films which gained a critical and popular following throughout eastern Europe, but which with the possible exception of Larks on a String , not released until failed to have the same impact in the west. He did not fall silent — rather he learned to speak in another dialect, unfamiliar to us in the west.

Robert Carver: The communists may have gone, but the new freedoms have brought new problems for the Czech film industry. How do you feel about the partition of your country, and what do you think it will mean for the film industry? Jiri Menzel: am very unhappy about this split. This rush to divorce which has been foisted on us by ambi- tious and unscrupulous politicians has very lit- tle public support. As for the film industry, I hope it won't have any effect.

I always enjoy working in the Slovakian capital Bratislava - they have very good studios. We will continue to work together. As a reaction to this political stupidity, it seems Czech artis- tic products are more popular than ever in Slo- vakia — and vice versa, You are currently head of FAMU, the film school here in Prague, as well as still being an active movie and theatre director.

I started in and finished in , Was Milos Forman there at the same time? He left the year I arrived — he's a bit older. What was the tradition at FAMU when you were there — was it experimental? It was highly rigorous and conventional. There were very good teachers, analysts of German cinema, American cinema. Milan Kundera taught comparative literature. FAMU was good because it employed the best film-makers in the country as part-time teachers, as well as other very good teachers full time.

The school formed the basis of the modern Czech film industry and everyone except the immediate post-war directors passed through it. After graduating did you go straight into feature-film production? I worked for a short time in film news, then did two years compulsory military service. Milos Forman chose to become an emigre. But at the time I was set to make a Czech movie called Larks on a String. When the Russian tanks rolled in it was still possible for me to shoot the movie, but once it was finished it was forbidden a showing and the border was closed to me.

Like all my generation — not just film-makers, but writers and artists too —- 1 was without work for several years, It was the period called normalisation. Milos Forman did well because he knows how to make movies for the whole world - and he does it very well. But I'm not sure could do it. Today there is no censorship, but the tyranny of market forces instead. The mids was a very happy time, the flower- ing of hope and optimism before all the repres- sion and disappointment.

Television wasn't so important and there was no competition with foreign movies, no video, no satellites. It was a production machine, just like a sausage factory or car plant or shoes. But it was run without regard for real productivity, which is why our country became poorer and poorer. We made about 50 movies a year, though few of them were any good. A golden age, you might say, and gone for ever. We had a certain liberty, but within limits, unlike today when everything is possible but nobody knows what to do.

In those days we knew the enemy, Do you think film thrives under repressive regimes, because directors have to become artful and oblique to get their message past the censors? The strength of a film-maker lies in his inner morality, in knowing what is right and wrong and portraying it. The first thing you must know is why you are making the film.

Then you must know your limits. The communist world has lived with an enemy for a long time. First the Nazis, then capitalism, then Stalinism. Can you live without a scapegoat? We still have to fight against madness and for sanity, It's our duty. Since the 70s the best movie-makers in the west - French and German directors in particular —- have become increasingly egotisti- cal, individualist and arrogant.

They no longer make movies for the people, but for their own personal artistic expression. I'm strongly against this trend. With television completely amoral, the Church ignored - who has the biggest influence on people's souls, on young people?

The film-makers. It's necessary for us to remain, if not moralists, then at least ethical guides. In Prague at the moment there seems to be only one Czech movie playing — all the rest are American or western imports of the sort which couldn't be shown here under communism. Is this just a holiday from socialism, or is it the end of the Czech film industry? Horror movies, cheap trash — such stupidities as could never have been shown here. This was the late 60s, and it got worse and worse.

Here, thanks to our censorship, we were never exposed to such trash. Of course, some good movies were banned, but at least we escaped all that torrent of rubbish, which meant that Czech viewers were very cultivated - a paradoxical result of censorship. Now it's over. The critics in the west are very gullible, they are willing to spend hours talking earnestly about populist garbage with zero content.

Which western film-makers do you approve of? Truf- faut thought of his viewers. It was a very special time. People were paid by the week in those days, not by results. We had plenty of time for shooting - about 12 weeks I think - the opposite of today. Black-and-white film stock was very cheap so I could shoot using a9 or ratio, whereas today it would be only The conditions were so different.

They seem like a dream today. Which films had you seen at that point that you think might have influenced you — the Italian neo-realists? What all the movies I liked had in common was that they were interested in humanity. One thing we have here which is very valuable is a tradition. Film production began here at the turn of the century and has carried on in an unbroken line, with the skills passed on.

When I compare them with what I've seen in Germany and France, Russia and Hungary, our technicians and crafts people have great strengths. So the loss of subsidies will do a lot of damage. If the Czech film industry collapses due to market forces, our future will be co-pro- ductions, with scripts and money from abroad.

It will probably be good for our technicians, but not so good for Czech films. You are now head of FAMU. Those conditions will never come back. It might be possible to work with television, to find a foreign co-production, perhaps. But co-productions so often mean a foreign script with foreigners calling the shots - your technicians simply making a Europudding.

That's right — and the result is a bastard. I admire Milos. In spite of American money and actors he made a film for all the world, but he put in a Czech spirit, as he did in One Flew Over the Cuckoo's Nest. Did you work closely with Havel on that? Mr Havel was very occupied with affairs of state, so I only talked to him once or twice before the shooting.

How do you rate Havel as a playwright? He and are, you could say, very different cups of tea. The film wasn't my idea, it was proposed to me just after the revolution. His people are like crystal, architecture — artificial construc- tions, but not really life, no heart. What would you say your credo is as a film-maker? Are you a socialist? A humanist? I think any human being has to be respected, but on condition that the human being merits respect.

I am not like Vaclav - I have no sympathy for prisoners. Thanks to the crime tradition, the noir tradi- tion, we see this world simply as sport, car chases, killings, and no one has any interest in the victims. Your later films have been huge popular successes in eastern Europe but not in the west.

It's another world — after 40 years of complete separation, we're 20 years behind you. Is there also something in the culture of eastern Europe — nothing to do with communism, but the Slavic tradition, the Magyar, which is more collectivist, less individualistic? We are a younger nation than you west- erners, our grandfathers were peasants, We are closer, human being to human being, than you.

We have always been under foreign domina- tion, since the Austrians in the sixteenth cen- tury. After we became free, and the influences came in, not just from Vienna but from Paris and Berlin and the US. That is what surprised me about France — an intellec- tual elite who are highly cultivated with the rest of the population without culture.

Good films, good poetry have always been widely appreciated by ordinary working people. Poetry is often pub- lished in runs of , That's happening here now, in Prague. I'm afraid it is happening here. We have some advantages — there has always been a feeling here that one has to be cultured, which has gone in the west.

What about your own film plans for the future? I have two new movies planned - one with David Puttnam, who wants me to do a Czech film in English here, and another an American co-production. We are talking. In the old days we made films, now we talk, talk, talk. But still — we goon. There was no comment from Mr Menzel. Berenice Reynaud visits them and talks with Woo, overleaf A foggy November morning in an unlikely-seeming location in the marsh- land between Baton Rouge and New Orleans.

The crew, carrying an assortment of portable telephones, cables and nasty-looking weapons, splashes through the rain-filled ruts dug by var- ious vans and trailers. Stuntmen in helmets and black leathers ride motorcycles across the- uneven ground. The plantation owners - frail and white-haired — seem oddly out of place, like will'-o-the-wisps from the swamp. Neighbours have gathered too, remember- ing that in the distant past Charles Bronson shot a film here.

John Woo, top-grossing Hong Kong action director and an international cult figure since his success The Killer, is shooting his first American movie, Hard Target. To smooth out language difficulties, I'm doing part of the AD's job, I prepare shot lists. Woo was deluged with no less than 50 Hollywood scripts Martin Scorsese, who adores The Killer, was even rumoured to want to pro- duce Woo's next project; though Woo and Scorsese met, the latter is currently more inter- ested in directing.

An action-packed remake of Ernest B. It was The Killer. Even before directing part of Once a Thief in France, Woo was no stranger to foreign-location shooting. He made a number of low-budget films in Korea, then in Taiwan, until New Wave film-maker Tsui Hark, repaying an old debt Woo had given him the opportunity to direct his first successful feature in the early 80s pro- duced A Better Tomorrow , which became the top-grossing film in Hong Kong history.

His international success is a source of controversy at home: some critics dismiss his cult status among English-speaking audiences as yet another example of Orientalism, or at best as cultural misunderstanding. Not only, as he acknowledges, are his heroes paragons of a bygone code of honour, but there is no ambiguity, no shift of meaning in his narratives.

In Woo's films, man is man, woman is woman, friendship is what it seems except in the case of betrayal, which is a quasi-metaphysical abomination , and the nar- rative follows the laws of Aristotelian logic. The Hong Kong Woo describes is conspicu- ously devoid of British characters.

It is a space that escapes colonial history, a place deter- mined not by a difference of cultures but by a plenitude of signs, a city to love with passion, to die for, and to die within significantly at the end of A Better Tomorrow, the Chow Yun-Fat char- acter, instead of fleeing with the money, turns back and gets killed in Hong Kong.

Will success in Holly- wood spoil him or will he impose his mark? Of course, the first non-Chinese star of one of his films is not an American either. Many directors want to work with Van Damme, whose presence in a movie is an almost automatic guarantee of commercial suc- cess. Woo wasn't exactly first choice, but the studio hired him in the belief that he could blow new life into an overused genre.

Without him, Pfarrer claims, Hard Target would be just another of those American action films that have run their course. Crimes, robberies every day China is already exerting a lot of control. We never had much freedom in the film indus- try: today we can't criticise the colonial govern- ment, and tomorrow all creative freedom may be lost.

Evans Chan's experimental fiction To Liv e shows two couples caught between the misrepresentation of Hong Kong in the west and their desire to emigrate. Clara Law's Autumn Moon tells of the bittersweet friendship between a Japanese tourist and a little girl whose parents have gone to Canada. He intends to start pro- ducing films - and not only Chinese ones — in the US and Canada, but for the moment he's riding in Hollywood on the John Woo ticket. After his collaboration with Tsui Hark, he has found a true partner in Chang, whose professionalism, courtesy and reliability are a match to his own talent.

It's a case of Chinese brotherhood: you help me, I help you, and together we'll make it. Woo and Chang are the only Chinese on the set. Teamsters have been recruited locally, but most of the crew comes from Los Angeles. At first worried that he was not able to bring his action director to New Orleans, Woo is now getting along beautifully with stunt co-ordinator Billy Burton.

Even his hesitant English works in his favour. While absolutely precise in giving directions on the set, during breaks he smiles and takes his time, unless he explodes into passionate Cantonese, effortlessly trans- lated by Chang. He uncovers the unpleasant activities of an elegant piece of Euro-trash Lance Henrik- sen and his side-kick, a white South African psycho Arnold Vosloo , who for a substantial fee hire out homeless war veterans for rich men to hunt down in the swamps.

The script has pages on nine different colours - one for every draft. What we're ending up with is much better than what I wrote. Like a young Steve McQueen. While the entire crew and cast eat together, he Junches alone in his trailer, on a special body- builder's diet. As the young woman cries silently, Van Damme holds her hand, comforting her in a low voice.

The camera completes a long, sensual take. Smoothly, with the supreme ease Woo dis- plays on every set. The same evening the crew watches rushes. Hunted by an impressive array of cars and motorcycles, he seeks shelter inside an abandoned sugar mill. A thug follows him. Suddenly, a motorcycle in flames mounted by a leather-clad puppet repre- senting the dead villain bursts through a large window.

The spectac- ular stunt was performed only once, but for such scenes Woo runs six or seven cameras simultaneously, offering long takes from dif- ferent angles that will later be spliced together in an orgy of fire, explosion and motion. Back on the plantation while the experts are putting the final touches to their pyrotechnics, the motorcycle stuntmen are at work.

A motorcyclist takes off his helmet, revealing the long hair and fine features of a young woman. To time the jump and make sure we were both going at the same time, we dropped lemons, which fall at the speed of your body. The young PAs round up the onlookers, pushing them away from the action, The cameras are rolling. An explosion resounds and pieces of charred lum- ber fall from the air. The shed has vanished. The same evening Woo, Chang and some journalists are feasting at a Japanese restau- rant.

While Woo seems to have adapted quite well to life in America, there is one point where he draws the line: food. So in the state of chicken gumbo and jambalaya, he stubbornly looks for Chinese restaurants an almost impos- sible task or Japanese haute cuisine. At The Shogun, after a few sakes, he becomes ani- mated, his eyes smiling with kindness and cin- ematic passion.

He talks about the first film he shot in Vietnam, Heroes Shed No Tears - once again the tale of his solitary fight against stu- dio politics. The script was idiotic, crude, unnecessarily sexual and exploitative, so he changed it, turning it in the process into a much better film.

But the studio hated it, changed it back, and eventually shelved it until the success of A Better Tomorrow. He also talks of martial arts director Zhang Cheh. Chinese cinema has always been too low-key. We should be more expressive, put more of our- selves into our films.

John Woo talks about making comedies, Cantonese operaandthe American experience. Translated by Terence Chang Woo in interview I started to make films - existential love stories - when 1 was in school. The studios were very conservative and the industry was corrupt. Then in a company called Cathay welcomed a new generation of intellectuals and our whole group went in.

I became a continuity person and was able to save enough money to keep on making experimental films, I was also writing film criticism. In was hired to co-direct an independent low-budget film called Young Dragons, which was eventually banned in Hong Kong because it was too violent. It lost money, and was sold to Golden Harvest, where they signed me up for three years.

I directed kung- fu pictures —- often shot in Korea for , HK dollars. This is not what I wanted to do, but I was under a lot of pressure, was 27, and the youngest director working at Golden Harvest. Some people were assistant directors for more than 10 years before they were allowed to direct. To my disappointment, the studio wanted me to do nothing but comedies, That was one of the worst times of my life. They let me direct two films there, but the less said about them the better, When T returned to Hong Kong, Tsui Hark, who was starting his own production company, the Film Workshop, offered me a job.

This is how we came to collaborate on A Better Tomorrow. A lot of the emotion behind the film reflects my friendship with Hark. We both agreed that the film should stress human values, and Hark encouraged me to project my own feelings. The result was much better, much richer than he had expected. Jean-Pierre Melville influenced me a lot, and I always wanted to make a film like Le Samourai, Professionally, I'm a loner, so I can identify with the solitary assassin. I designed the final scene of The Killer in a church because for the protagonist it is the only peaceful place in the world.

I spent a lot of money to make the perfect Virgin Mary statue: when it is shot to pieces, truth is destroyed by evil, and with it the spirit of chivalry displayed by ancient warriors. In A Better Tomorrow, when Chow Yun-Fat is beaten up, the villain takes his scarf and wipes his hand; when Christ was crucified, Pilate washed his hands. My techniques, my themes, my film language are not traditionally Chinese.

It's my chance to gain experience in a totally foreign environment, I need the film to establish myself commercially in Hollywood. But in the future, I'll be writing my own scripts. And people like Quentin Tarantino, who knows my films very well, are writing scripts for me.

In Hong Kong the technicians work very hard, we've known each other for a very long time and they really understand what I want, but they were not trained by experience, by going to film school. The most difficult thing for me here is to learn how to handle the studio politics.

It can be very frustrating at times. By Peter Wollen In the last year there has been a cascade of new releases of director's cuts and clas- sic films, including Fantasia and Blade Runner. Its rapid rise to classic status reflected both the rise of auteurism and a post-modern interest in pas- tiche and self-reflexivity, and critics had also been directly reminded of the film's claims by the release of the MGM musical compilation film, That's Entertainment, Then, at the end of last year, Sight and Sound published its fourth tabulation of top ten lists by critics from all over the world, ending up with a new master list that, in effect, presented a revised canon of great films.

What had happened? In fact, most of the time the canon is slowly evolving, in a state of low-level flux. Marginal adjustments are being made all the time and even its central pillars are not necessarily set in concrete, It is a work of bricolage. New elements are added and out moded areas tacitly discarded. It is patched up and pushed in one direction or another, through a complex process of cultural negotia- tion among a motley set of cultural gate-keep- ers and taste-makers.

These gate-keepers both influence opinion and make influential practi- cal decisions. First, there is the key role played by archivists. They are the source of prints for retrospectives at festivals and in cinematheques. Preservation, of course, is the foundation of the whole enterprise of evaluation. While films maudits can survive for some time without anyone actually seeing them, in the end their reputation is bound to suffer.

The older the film, the more crucial the role of the archive. Archive policy is particu- larly significant in determining which films will survive from the silent period and even from the 30s and 40s. It is worth dwelling on the function of archives at some length because I believe they have always played a key role in taste and canon formation and that this is likely to increase in weight and scope as more and more films go out of commercial circulation.

Similarly, my own auteurist re-appraisals of the 60s were largely dependent on sitting in the front row at the National Film Theatre. The Edinburgh Film Festival later played a similar role in promoting, for instance, the critical boom in the films of Dou- glas Sirk, which subsequently broadened out, in conjunction with feminist film study, into a boom in melodrama as a genre, Cult or mainstream Second to the role of archives comes that of aca- demics and critics - overlapping categories, of course.

Academics play a key role not only in influencing young minds and writing books and articles, but also by choosing films for classroom screenings or drawing up required viewing lists, which function something like foundation lists of great books, although with- out the same authority. In teaching a PhD sem- inar on the idea of a film canon in Los Angeles, I was struck that the students, themselves future academics, critics, archivists and pro- grammers, formed their own lists out of films first seen in three ways, in this order: class screenings, repertory cinemas or cinemathe- ques, and videocassette reminding us that film studios too have their own archives and archivists.

Critics publish articles and, less ephemer- ally, books. They draw up most of the top ten and other similar lists, which academics feel a little embarrassed by. These lists, however, can have a considerable impact. This buzz in turn filters through to academics and archivists, as they strive to keep abreast of events.

Next, less obvious perhaps, comes the role of film-makers. This is institutionalised at formal events like the Academy Awards, which present to the outside world the image of taste to which the Hollywood industry aspires, and involve an implicit trade-off between respect for the box office, acknowledgment of professional standing, and aesthetic evaluation, all filtered through a sieve of unstated assumptions that allows dramas and costume pictures and films with important themes through more readily than horror movies or musicals, The Oscars, too, serve as a kind of caricature of main- stream, midcult values against which both mandarin and radical critics can react in con- structing their own rival canons.

The most obvious recent example of this is the role played by Coppola and Scorsese in the re-evaluation of Kurosawa or the rediscovery of Powell and Pressburger. They include, for example, a particular sense of craft. Many different people, with different degrees of vehemence and from dif- ferent positions of power, express preferences based both on their personal sense of taste and on a deeper sense of what is aesthetically right or wrong.

There is an assumption both of shared values which make intersubjective com- munication and dialogue possible, and at the same time of divergences within that common framework. If the divergences become too acute, the framework dissolves and the film- making process becomes a nightmare. The film will be bad. Finally, of course, there is the audience. Here, I want to note in particular the role played by film buffs and cultists.

This is a spe- cial sub-group of spectators who feel unusually enthusiastic about one genre, one director or even one favourite film. Not only are cultists organised, putting on their own screenings and events, but they exert pressure on exhibitors and critics through their dedication. In fact, many critics and archivists and even academics emerge out of the ranks of cultists.

Andrew Sarris, it is worth recalling, published a book titled Con- fessions of a Cultist and drew heavily in con- structing his pantheon on a cultist sang pur, Eugene Archer. I too frequented backstreet repertory theatres like the Electric, the Ben Hur and the Tolmer and the cultist Mayfair Club , where I familiarised myself with a back- log of Hollywood pictures recommended by the Cahiers critics.

I ticked them off in Boisset and Tavernier's Twenty Years of American Cinema after I had seen them, until the book was grubby with ink. Cultists play an apparently disproportionate role precisely because they care deeply obses- sively about the films they love and constitute them spontaneously into a kind of cult canon. The key transition occurs when they go public, and begin to argue the merits of their canon with outsiders instead of just celebrating them in semi-private cliques.

Sometimes the line is hard to draw: are The Wizard of Oz and Casablanca cult classics or mainstream masterpieces? The process of cultural negotiation among these many gate-keepers of taste results not only in the surface phenomena of lists and pro- grammes, but also in the crystallisation of an implicit aesthetic paradigm at a deeper level. When we look at the history of film taste we can see three contending phases of aesthetic theory-making.

These, in turn, were locked into cer- tain exemplary films — Battleship Potemkin or The Gold Rush - which served as linchpins for the construction of a canon. Why did they rise so fast and then show such staying power? Bazin to Borges Bazin saw these films, I would argue, as sig- nalling an end to the studio-dominated 30s and the beginning of a new epoch — one which coin- cided, of course, with the defeat of fascism and the beginning of the post-war era in Europe with a new world role for America.

They rep- resented the possibility of a new direction for cinema at a moment when new directions were called for. In this sense, they indeed form part of a more general shift in taste, along with neo- realism, as Bazin indicated. Bazin, for instance, argued that Citizen Kane was a realist film. He came to see the film as a masterpiece, not of realism, but of artifice, full of tricks and devices. In , the great Argentinian writer, Borges, also a film critic for Sur, was fascinated by aspects of Citizen Kane which echoed his own work: the labyrinth without a centre, the play of mask and identity, the jigsaw puzzle, the paradoxes of the detective story.

More recently, Michael Denning has argued that Citizen Kane should be seen in rela- tion to the Popular Front Theater from which Welles emerged, while Laura Mulvey, in her recent Film Classics book on the film, has placed it in the political context of isolationism and New Deal anti-fascism. This too was a personal film that emerged out of Renoir's previous involvement with Popular Front Theater. It reveals some- thing of the same fascination with the modern media and the new type of hero associated with them.

In fact, radio is used explicitly to structure the beginning of the film and to establish its central characters, whereas in Citizen Kane radio techniques are used in delivery of dialogue and post-production to cre- ate the texture of the soundtrack.

Just as Welles placed his modern hero in a Shakespearean or Conradian setting, so Renoir placed his in a setting derived from Marivaux and de Musset. Both films mix genres — Welles tragedy, bio-pic and detective story; Renoir romantic comedy, tragedy and bedroom farce.

Both films were seen as breaking the rules of narrative construction, although in very differ- ent directions. Finally, both were films maudits, blindly rejected by industry, critics and public when they were first released. Thus they could be cast by later generations in the role of mar- tyrs for the cause of cinema, premonitory films whose promise came to fruition only years - indeed decades — later. At the same time, these two films were sufficiently rich and open to be available to critics of different outlook, in different periods and in different cultural situations.

Auteurism was much more explicit in its canon construction than Bazin had been and set out to provide an entirely fresh and comprehensive mapping of Hollywood film. These are films which could be seen on the one hand as exemplary instances of the classic Hollywood genres, made by the old mas- ters, and on the other as portraits and celebra- tions of darkly obsessive personalities, not altogether unlike those required for success as an auteur film-maker.

Now, perhaps, we can begin to ask what the future might hold. In , it was Bergman's Persona, first shown five years before. In came Fellini's 81, first shown 19 years earlier, even before Per- sona. The canon has indeed begun to freeze, Goodbye to the 60s The time certainly seems ripe for a new revolu- tion in taste, taking us beyond the upheaval of the 60s.

Lists may seem trivial, but in fact they are crucial indices of underlying struggles over taste, evaluation and the construction of a canon. And changes in the canon are crucially linked to changes in film-making. As the Cahiers critics saw it, the overthrow of the existing regime of taste was a precondition for the tri- umph of new film-makers with new films, demanding to be judged on a different scale of values. Like the Surrealists or the Leavisites, they mobilised the old to support the new.

Today, if the current canon is to be unfrozen, the impetus must come from a challenge, not simply to the New Hollywood, but also to the festival regime first established at the time of the New Wave film-makers. Surely there are no more New Waves to be discovered at festivals around the world. Indeed, the current search for a New Wave inside America itself, now that Latin America, Africa and Asia have been exhaustively examined for New Waves to dis- cover, simply shows the decadence of the whole concept.

A new cinema will create a new film history with it, perhaps deliberately, perhaps by acci- dent. And we can be sure that, in its absence, the canon will continue to petrify. The art form of the twentieth century will dwindle and die, as stained glass and tapestry died before it. A fascinating document which also includes reflections on Wittgenstein, biography and film.

Each module includes a one week summer school which is held at Rewley House in Oxford. The natural has become the most disturbing thing: blood and the fact of bleeding, the symptom of a hos- tile inhabitant. This is a poem of body horror.

The body never goes away. The ephemeral disturbances of the supernatural, the demonic or cybernetic immortality of monsters like Freddy or the Terminator who just keep coming back all have a power for horror, But it is our proximity to the body and its natural possibili- ties its decay, its mutation, its potential for pos- session and inhabitation which has gripped horror cinema most powerfully, That it has an agenda of its own, quite separate from the con- cerns of the conscious moral self, makes the natural more alien than the aliens.

In this sense, human identity is an uneasy pact between the horrified self and its ever-mutat- ing carcass. Death is only another form of natural life and degeneration is a matter of perspective. His monsters aren't things which jump out of the closet; instead, the body is the closet from which the monster jumps. In this connection grubs and insects, the most familiar and most alien form of animate nature, have a special significance.

The scale of those irradiated nightmare insects of Cold War fantasy has a vulgar power — the best example is probably the ants of Them! Enemies within The examples are numerous and ludicrous: Tarantula and Attack of the Crab Monsters are self-evident, but the genre also embraces such gems as the giant caterpillar of The Monster that Challenged the World , a foot grasshopper in Beginning of the End , The Killer Shrews and the mega-rabbits of Night of the Lepus This is an obsession which is continued in popular contemporary horror fiction by such writers as Guy N.

However, even the various insect-human hybrid movies The Fly, ; The Leech Woman, have none of the impact that the idea of intimate inhabitation has - the notion of the insect inside as a figure for a certain relation- ship with the self. The abject idea of some living thing under the surface struggling to get free, the possibility of the body opening itself to let it in or out again has been realised by Cronenberg in a number of ways, with the moving grubs in the bellies of Shivers, the vagina-opening in a male stomach in Videodrome , the vampiric projectile in the armpit of the heroine of Rabid Metal is made to grow, gun barrels erect themselves in clusters from his chest, arms twist into metallic sinews which also fire - this inhabita- tion is mineral rather than animal.

Bodies do not necessarily end where or when they ought to end. All these images are crystallisations of an anxiety at the heart of much horror: posses- sion, not by a malign spirit, but by a readily reproducing organic will, for which you are just an incubator or food source arguably the experience of many a pregnant woman, and Rosemary's Baby plays brilliantly on both senses of possession. The grandmother of all these must be Alien, a creature whose single-minded use for the human frame, combined with its strategic canniness, suggests a disturbing rever- sal of the order of things: we may be higher up the evolutionary scale, but the Alien can still make use of us, just as the shark in Jaws can still pitch itself higher up the food chain.

This might be the qui- etly multiplying viral enemy, tumour or alien, or it might even be the masochistic self which wants only what is bad for it - the buried self as fifth columnist. If bodies do not neces- sarily end where or when they ought to end, neither do creative impulses. He waited, heart in mouth, for the fall of Empire. It is clear that body horror is where Surrealism continues to thrive, alive and kicking in its subversion of reason and taste.

Disease becomes an agent and realisation of polymorphously perverse desire, and here again the shift in the perception of Barker's work from horror to fantasy is rele- vant, the monstrous of Hellraiser becom- ing the imaginatively mutant of Nightbreed Barker's characters might struggle with the insurrection of the body, but this is the same body which can offer a new range of expe- riences or a pleasurable lack of control.

The question remains, however, of how these ideas can be addressed positively: even the wildest cele- brants of unconscious insurrection would be hard pressed to keep to the margins when con- fronted with the moral gloss on otherness pre- ferred by mainstream horror. Who, then, are we encouraged to identify with - the struggling moral subject or the frenzied sub- ject of excess? Yet the very fact that this question can be posed suggests that body horror need not be horrible, that these natural forms may not nec- essarily be the components of a nightmare - it all depends on who is doing the dreaming.

Fear the wolf who is hairy on the inside, charges the grandmother in Neil Jordan's film version of Angela Carter's The Company of Wolves, but she gets eaten for her fear. My earrings turned back to water and trickled down my shoulders; I shrugged the drops off my beautiful fur. Which future have you picked out for yourself?

Are you a child of Moloch or of Gaia? Do you see yourself in the next century with dermatrodes strapped to your forehead, your brain cells streaming across the cyperspatial network in a shimmering nimbus of neurons and electrons while your body pulses with the virtual sexual ecstasies of teledildonics? Do you live in a world of implants, nerve-splicing and microbionics, a world divided forever into hard- ware, software and wetware?

Or alternatively, are you an apocalypso dancer, wringing your hands, crying doom, voting Green? If so, your future vision is one of poisoned oceans thick as tar, of skin cancer, of a scorched earth on which mutated, skeletal humans battle with cock- roaches and rats for sustenance. This basic opposition between two ways of seeing the industrial technocracy stretches back into the last century and even further.

The Romantic landscape painters Turner, Cot- man and John Martin presented the iron foundry as the gaping maw of the pagan under- world, Similarly, in our own century, writers have turned to strange gods in their frustration at what seemed an intolerable present and an impenetrable future. S, Eliot, in The Waste Land - his great dirge to the Romantic and clas- sical worlds we have lost - summons the Sibyl at Cumae and the hermaphrodite seer Tiresias as he surveys the spiritual pollution of the twentieth century.

And other writers too, from D. Lawrence to William Burroughs, have invoked ancient civilisations - the Mayans, the Aztecs, the Egyptians - to provide the wisdom that might give us the strength to be able to bear the new world. Does managing a well-established blog such as yours require a large amount of work?

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