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Ray Pride

By Ray Pride

Hail Mary: lacking the very density of materiality

Random bloggotry: Chongqing reflects upon Godard’s Hail Mary: “This was one of the first art films I’ve seen in a long time, and it was horrible. It was so bad. hail_mary_02.jpgShot of moon, of waves, of contemplating a [R]ubik’s cube. I am tired of Godard’s Brechtian inauthenticity. It is weird when I think that Spike Lee is more Godard than Godard nowadays. Manny Farber said Godard was like a zoo of animals. Godard is more like a man who has thought he has launched himself into new ground and new territories, but does not realize he still sits absentmindedly at the table of high-modernism. Godard speaks to museums and old French novels. There is a reason Godard could never relate to the third world in his films. He is so rooted in his Frenchness that everything he attempted to absorb from outside the borders of himself ended up being cardboard parodies that lacked the very density of materiality.”

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“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch