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• W1445284477 abstract "[ILLUSTRATION OMITTED] When John Schlesinger's about a love triangle involving an older man, a woman, and feckless, bisexual young man whom they adore appeared in 1971, it was universally praised by reviewers for its skill in portraying a love triangle very much of today, as Judith Crist put it in New York Magazine (74). Impressed by film's open treatment of contemporary sexual practices and its innovative portrait of homosexuality, major reviewers on both sides of Atlantic--Archer Winsten, Vincent Canby, Rex Reed, Pauline Kael, Kathleen Carroll, Newton North, Molly Haskell--seemed to write as if Sunday Bloody Sunday was first work in history to explore an unconventional love triangle. As somewhat complacent reviewer of Wall Street Journal expressed it, This is, of course, a triangle inscribed by an emphatically contemporary pen (Boyum 14). It's also a triangle inscribed by a somewhat older pen. film's recollection of Shakespeare's love sonnets, in which poet's young friend and his mistress betray him by having an affair together, is not simply a matter of subject (the insoluble truths of desire) and point-of-view (that of older man), but of Schlesinger's artistic method of dividing into increments of time, marked by days of week, temporal and emotional units that resemble discreet lyrics within a sonnet sequence or chapters of a novel. In words of Schlesinger's biographer, William Mann, Sunday Bloody Sunday can give one the sense of reading rather than watching (378). Pauline Kael described it as a novel written on film and, in being so, an entirely new achievement: It has never been done before--not successfully, that is--and so this movie is instantly recognizable as a classic. (1) Other earlier works of art reverberate in Sunday Bloody Sunday. music of is taken from a Mozart opera and its vision of city as a total environment derives from classic documentary films of urban life. These resonances distinguish from others of period, providing it with a kind of aesthetic deep focus that distances viewer from contemporary story it has to tell and, perhaps for that reason, makes it possible for viewers today to derive something from beyond a time-bound portrait of sexual and romantic quandaries of well-to-do in seventies London. Another about problems of contemporary relationships that appeared in same decade, Paul Mazursky's An Unmarried Woman (1978) has some of same themes and character-types as Schlesinger's film--an ironic portrait of disposability of contemporary relations in an urban context, an artist figure, an awareness of role of age in sexual selection--yet Mazursky's seems far more dated today than Sunday Bloody Sunday and it has not received anywhere near critical recognition of Schlesinger's over time. (2) Although Schlesinger may be said to have adapted these artistic sources to his purposes, it would be more precise to say that in entering imaginatively into life of sources, they took on new life, one conditioned by film's modern, metropolitan, technological present. A useful metaphor for this sort of cultural resonance may be found in notion of an afterlife. Walter Benjamin uses this concept, nachleben, in his discussion of of works of art in The Task of Translator: For in its afterlife--which could not be called that if it were not a transformation and a renewal of something living--the original undergoes a change (256). Benjamin suggests that as culture ideologically supporting a work fades from view, spectator, audience, or public recognizes artwork in a new way. artwork's material content has now become unfamiliar, accessible only through scholarly excavation, while its truth content is newly recognizable. (As in Benjamin's Arcades Project, a simultaneous illumination takes place: truth content becomes accessible as material content, which has grown strange over time, is gradually brought to light. …" @default.
• W1445284477 created "2016-06-24" @default.
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• W1445284477 date "2015-06-22" @default.
• W1445284477 modified "2023-09-23" @default.
• W1445284477 title "Sunday Bloody Sunday Revisited" @default.
• W1445284477 hasPublicationYear "2015" @default.
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