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- W28787033 abstract "In early 1970s, Robin Wood wrote entry on Dusan Makavejev Richard Roud's Cinema: a Critical Dictionary, hailing Makavejev's films as among most immediately striking and original of post-New Wave generation. (1) In particular, Wood commended filmmaker's unique collage method and challenge presents to viewers--at least his first two films--before expressing concern over unwieldy, hyperrealized WR: Mysteries of Organism (1971). Two events took place after writing of this piece: Makavejev made (even more) controversial Sweet Movie (1974), and Wood's criticism took a politically radical turn. These two events, though occurring independently, deserve to be reevaluated with respect to each other, and to their possible intersections. This essay will first look at Sweet Movie light of Wood's initial thoughts on Makavejev, and then discuss film under more radical perspective of Wood's later criticism. motive throughout is to discover how two elements encourage each other and what that interaction can accomplish terms of radical cinema. In his assessment of Makavejev, Wood focuses most positively on distinct style of montage that Makavejev has become well known for: His particular contribution to expressive potentialities of modern cinema has been development of an increasingly complicated collage method: juxtaposition of heterogeneous materials to produce complex ironies and ambiguities. This style involves interweaving of fiction, non-fiction, scripted scenes, documentary clips, stock footage--and seemingly, anything that Makavejev deems fit--in what comes across as an instinctual manner. In other words, he relies less on rhythm and cohesion, more on natural timing and effect. Indeed, as Wood points out, the possible connections are themselves ambiguous or contradictory, so that spectator is forced into an active participation, invited to supply his own synthesis to dialectic of thesis and antithesis proposed by (Um. He sees effect as twofold: to create active participation described above (and illustrated by out-oforder chronology of Love Affair, or Case of Missing Switchboard Operator, 1967), and to raise questions on director's own behalf, to creative an active dialogue--over morals, culture, politics, etc.--for which Makavejev himself has no definitive answers. Wood makes case for this active, consciousness-raising style of filmmaking primarily through Love Affair and its predecessor, Man Is Not a Bird (1965). Moving onto Makavejev's fourth film, WR, VVood begins to voice concerns with direction which filmmaker takes his technique, particularly differences direction. first difference he brings up is much wider pool of resources Makavejev makes use of WR: The material drawn together for collage is much more diverse, which at once multiplies possibilities of meaning, irony and collision, and makes effects much harder to control. Truly, WR brings together a much greater number of varying elements--subjects, genres, documentaries (both original and found), etc.--than Makavejev's previous films. As Wood concedes, It could be argued that this encourages a still more active participation; which other critics have, but his view, it is more likely to lead to vagueness. He mentions second and third differences tandem: in place of meticulously detailed, sensitively observed 'realist' fictions of first two films, WR offers a stylized, mostly comic charade which recapitulates their thematic while largely denying audience sympathetic involvement that (repeatedly interrupted and interrogated) generated such intensity of response. third difference, then, is shift to support more progressive attitudes, opposition to traditional ones, what Wood views as a satire of both attitudes, compared to sympathetic portrayal of traditional characters early films. …" @default.
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- W28787033 date "2012-03-22" @default.
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- W28787033 title "Sweeter Still: Sweet Movie Revisited" @default.
- W28787033 hasPublicationYear "2012" @default.
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