The Inside Assyria Discussion Forum #5

=> Re: American Sniper.....oscar

Re: American Sniper.....oscar
Posted by Marcello (Guest) - Wednesday, February 25 2015, 2:51:17 (UTC)
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"...the greatest money-making films of all time contain themes most popular with Americans...they are Christ (Gibson's S and M fantasy).....Violence, rather murder ( American Sniper) and Sex (50 Shades of Whatever.)

..."we have met the enemy, and it is us"."


-- True...

The modern use of violence in Hollywood films began in the period with Arthur Penn's Bonnie and Clyde (1967) and Sam Peckinpah's Wild Bunch (1969), and later in Martin Scorsese's comment on alienation in 1976's Taxi Driver -- all of which exhibited violence by "borrowing" from Japanese master, Akira Kurosawa (The Seven Samurai) as an artistic means to protest the wider and uninhibited use of violence in the Vietnam War abroad, and the racial and social violence, at home. On the other end, there was the celebration of testosterone-driven individualistic violence of the Dirty Harry films, or vigilante driven man of Charles Bronson movies like 1973's, Death Wish. Then in the Reagan years of the 80s, chicken hawks like Stallone were "saving the day" in movies like Rambo, which followed with more garbage in which one-dimensional characters played by Arnold and Bruce Willis kill Soviets and Arab "terrorists". I mention the 1970s because from 1967-1980, there was a no man's land in Hollywood which enabled people like Francis Ford Coppola (The Godfather), Martin Scorsese (Mean Streets), Terrence Malick (Badlands), Woody Allen (Annie Hall), Sidney Lumet (Network), and many more auteurs to make art out of the "movie business" and shift the consciousness of the viewer into questioning everything from war to sex to death. Of course, the racism and violence in Hollywood didn't start in the Reagan era, it began with the 1915 racist masterpiece, Birth of a Nation by D.W Griffith, in which Blacks were portrayed as dirty, uncouth and oversexed, and the KKK, as the heroes. Scorsese' Raging Bull (1980) was the last of the great films of the 1970s era, from then on all that mattered in Hollywood was the weekend Box Office profits, which simply meant that hollow and banal entertainment had triumphed over film art. And unfortunately even the French, who made some of the best films during the French New Wave period, or the Italians with neorealism, are now attempting to copy the ultra-violent, yet devoid of content, type of shit that the U.S. pumps out. A truly sad reality for those of us (me) who were passionate to make films that mattered... that had something to say.



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