Progressive Historical Narrative.
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A Park—Night A man aflame is running directly toward camera. The treatment continues: An officer and a bench sitter run toward him, taking off their coats, then begin smothering the flames. As they do, we cut to: a wide-eyed youth of fourteen Progressive Historical Narrative fifteen who has been staring at the scene and who now runs behind the trees and disappears.
And with that, both the burning man and the observer disappear from the script, leaving behind a hanging question: Why does the burning man burn? Is it the world or is he himself the catastrophe?
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The image that he finally chose to place at the start of Rebel—James Dean brought face-to-face at gutter level with the spasmodic cymbal beat of a toy monkey—leans toward the former interpretation the world as mad mechanismbut the burning man Progressive Historical Narrative read rather differently if he dashed into the long, dark street at the opening of In a Lonely Place.
A perfectly banal gesture Progressive Historical Narrative suddenly heavy and difficult, as the hand clenches midroute and retreats to his neck. Late in life, he wrote that he had never made a film that satisfied him, but given this penchant for destabilization, what film could possibly meet that criterion?
Such a strange aesthetic could come only from an individual with ample experience of estrangement, and the word tortured recurs like a pain refrain in the reminiscences of those who knew Ray best. Born Raymond Nicholas Kienzle Jr. Wright over the word organize. Rivette did the digging, and his piece on The Lusty Men offers perhaps the greatest insight into what this group saw in Ray and what they took from him.
The film is rough, Rivette acknowledges, and to that extent may seem distant from conventional notions of mastery. I observe a certain dilation of expressive detail, which ceases to be detail read more that it may become part of the plot—hence the taste for dramatic close-ups, unexpected within the movement of the Progressive Historical Narrative especially the search for a certain breadth of modern gesture and an anxiety about life, a perpetual disquiet that is paralleled in the characters; and lastly, his taste for paroxysm, which imparts something of the feverish and impermanent to the most tranquil of moments.
These decisions carry a sense of trying to carve out some space for immediacy and spontaneity inside institutionalized patterns of construction. Histofical
But against this is a proclivity for heavy symbolic underlining and general schematization, which place the individual movements of the films within thickly determined contours and sometimes iron out any seeming eccentricity of expression in the service of predigested meaning Bitter Victory, with its bookend dummies, Progressive Historical Narrative town model, and slow-drip exposition, pushes this to such an extreme that it becomes weirdly fascinating. Complicating this division are the films that strive to encompass a sense of random Progressive Historical Narrative inside their schemata. The first half hour of On Dangerous Ground may be unique in Hollywood cinema of the period for the jagged, darting paths it draws through a richly detailed world.
It gives the impression that one could turn down any side street, open any door, and find life going on, and this is mirrored in the action, which keeps pulling away from expected plotlines, refusing to settle into any groove. It may be that the distinctive quality of his best films lies precisely in the way they refuse to come together, in the bizarre split-seam shapes he makes in trying click find forms for his antitheses, in their Progressive Historical Narrative of mastery. Ray lays his groundwork carefully, establishing in the first section of the movie a world so dominated by variations on gray that any strong color reads as an event and sets the mind scurrying on barely acknowledged, subtly paranoid paths, looking for rhymes and connections.
In a Lonely Place is a particularly stark example—Bogart serves as the pivot at the start but gradually loses place to Grahame.
That shift could be said to take place in a couple of startling shots: As Dix confesses his love, he towers over Laurel, placing his hand around her neck. The words display the greatest emotional vulnerability he has shown in the film, and the gesture is meant to Progressive Historical Narrative tender, but the image carries a strong intimation of domination and violence.
Bigger Than Life is a much more ambiguous case. And that connection is Progressive Historical Narrative wholly lost. Even before the movie pulls out all its expressionist stops, the house bears some secret-sharer connection to Ed. The travel posters are the most heavy-handed touch, bluntly expressive of his yearnings. More interesting are the ways in which Ray frames Ed and Lou alone in the living room, slightly too low in the frame, to bring out the great, gray, empty expanse of the walls, blank spaces that will later be visit web page by shadow.
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As Bigger Than Life reaches its climax, the house loses its continuities and shatters into distinct zones. The door between the kitchen and the living room is closed.
Shadows are banished when the family gathers in the dining room, but the stiff frontality of the composition hangs mocking quotes around it, and the scene becomes a parody of domesticity, some demon-haunted Progressive Historical Narrative of a glossy ad. The film has often been read as a critique of nuclear family values, and the case is powerful and persuasive. The biggest muddle of the earlier film was its mixed attitude toward masculinity. The kids caught that. They caught the undercurrent of sweetness in Jim Stark and in the actor who portrayed him, and the longing for a lost, loving world where people could drop their bravado and treat each other gently. As often in Ray, this flight is shot down shortly after takeoff, and Dean is steered back toward his family under the arm of a newly masculinized patriarch. Bigger Than Life, then, might be said Progressive Historical Narrative pose the question, What would happen if the patriarch returned as an archetype, in all his inexplicable strength?]
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