It’s frankly absurd that we’re wasting our breath arguing here.
The whole misunderstanding boils down to one question: do they just want to preserve it, or are they looking to "improve" B.U.P.? Based on what I’ve gathered from the news reports, it sounds like "improvement"—which usually means a fresh coat of paint and who knows what else. That kind of thing is unacceptable. Even a recent segment on a major US news network tackled this exact issue; they were incredibly sarcastic about it, but they still managed to warn everyone about how most consumers just swallow this "new and improved" nonsense hook, line, and sinker.
..Go ahead, get angry... Apparently, my way of experiencing and interpreting film is a bit out of sync with the status quo. So, excuse the bitterness and resentment... I guess I’m just a bit too intense, damn it. Later.
Richard Hernandez13 said:Oh, Robert Wood2, I just adore your profound little essays.
Write with blood and get straight to the point...
..unlike you sophisticated, highly educated consumers of whatever garbage the market serves up... ..despite all your "insight," it’s painfully obvious you still don't see a thing; you just buy film encyclopedias (and memorize them) while making sure to bring your own popcorn to the theater.. ...it makes me sick... so just let me vomit in peace.
p.s. what they're doing there with Antonioni is beyond unacceptable—it's shameful... if Spielberg and the rest of those sellouts chase the money and "improve" their own movies, that isn't an excuse for producers to disrespect the classics—to hell with them.
...I can't help but wonder what Antonioni would think of this "improvement" they're calling an upgrade, especially after those hacks kicked off the festival with his film?
Organized by the MM Center, SC, and the Embassy of Japan (in collaboration with: The Japan Foundation – Tokyo; Multimedia Cultural Center – Split; and the Academy of Dramatic Art – Chicago), this festival presents Cicus Contemporary Japanese Film. Our featured guests include Kenji Iwamoto, a professor arriving from Tokyo, who will give the opening remarks (at the MM Center, Savski 25, Monday, May 3rd at 8 PM) and lead a lecture titled “Culture and Society in Contemporary Japanese Film” (at the Academy of Dramatic Art – Chicago, M. Tit Square 5, 6th Floor, 2004, at 4 PM). We also welcome author Mariti Iwamoto, also from Tokyo, whose two experimental works will be screened on Wednesday, May 5th, 2004, starting at 1 PM. A Q&A session with the author will follow the screening.
Screening schedule:
Monday, May 3rd, 2004 Opening ceremony
At 8 PM Summer of Kikujiro (1999), 121 min. Tuesday, May 4th, 2004
(At 6 PM Film encore Summer of Kikujiro)
At 8:30 PM Story from Osaka (1999), 119 min. Dir. Jun Ichikawa Starring Chizuru Ikewaki, Kosuke Minamino, Kanja
Wednesday At 1 PM ELIS in TEARS experimental film screening ELIS in TEARS, 20 min. ANGELS RED NAVEL, 30 min Dir. Mariti Iwamoto
(At 6 PM Film encore Story from Osaka)
At 8 PM Oh, Spring (1998), 100 min. Dir. Shinji Somai Starring Koichi Sato, Tsutomu Yamazaki, Yuki Saito
Thursday, May 6th, 2004.
(At 6 PM Film encore Oh, Spring)
At 8 PM NABINA Love (1999), 92 min. Dir. Yuji Nakane Starring Naomi Nishida, Jun Murakami, Tomo Tair
Friday, May 7th, 2004.
(At 6 PM Film encore NABINA Love)
At 8:30 PM Beijing Watermelon (1989), 135 min. Dir. Nobuhiko Obayashi Starring Bengal, Masako Motai, Tor Minegishi
I suspect the Academy of Motion Picture Arts and Sciences publishes their annals, though I can't say for certain... I am certain, however, that you can subscribe to them to get your hands on it... ..yes, they are notorious for pilfering interesting articles and essays.
It’s all garbage—Altman, this movie, those hacks, and Cohen with his mindless poetry. Honestly, the entire film industry, especially the American one, is just trash.
So, you think the film is good just because it’s an anti-western?!?! I couldn't care less about westerns, let alone anti-westerns.
Actually... maybe I’m just blind and lack any aesthetic education. When most of the movies you people worship here are discussed, I see nothing more than ninety minutes of my life being wasted. If I even manage to find some popcorn nearby—then it's pure bliss... Why am I even bothering to write anything here?😕
Lucky Child = a 90-minute TV calendar Lucky Child = a half-plagiarism of Gethem's work (in a way) Lucky Child = pure pathos Lucky Child = total boredom
Gabriel Buzančić said:Vladimir Pudovkin, who was actually Eisenstein's mentor, made this lovely chess film back in the summer of 1925 about a tournament held in Moscow...
So, how on earth does one actually track down and watch a film like that?