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Thread: method acting/role play supercedes irony as cultural strategy

  1. #46
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    Yeah cos this is a public forum where we make halting attempts at communication and that's like a diary entry I don't know what it means exactly

  2. #47
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    Go on then. Something like, metamodernism is maybe as much a dialectical progression from transpersonal thinking that never really paid any significant mind to postmodernism in the first place, as it is an oscillation from away and back towards a previous postmodernist position.
    Last edited by comelately; 04-09-2015 at 11:16 PM.

  3. #48
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    Quote Originally Posted by luka View Post
    Yeah cos this is a public forum where we make halting attempts at communication and that's like a diary entry I don't know what it means exactly
    I decided to try to answer the question, but I do think the above is very strange.

    Although people talk about 'The Interview' as metamodern cinema, I think 'Whiplash' is perhaps the first piece of major metamodern cinema.

    You've got JK Simmons channelling both Sgt. Hartman from Full Metal Jacket and consciously reprising his previous role as 'Aryan Brotherhood' leader Schillinger from Oz to play band conductor Fletcher. And yet it's an inspirational mentor-student relationship move, am I right? Well not unless you're willing to not look take Fletcher's expressed motivations at face value - which requires a certain naivety, a willingness to look the other way on some of his shit. You've got the young prodigy Andrew, who in the director's mind has drug addiction and an early grave in front of him - but it doesn't matter, because he'll have been a great.......jazz drummer??! In the 21st century? Who gives a shit? Is it worth all that struggle to become 'great' in such a small niche? Dunno really, but ever so slightly leaning towards yes.

  4. #49
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    I've never heard of whiplash or the interview or metamodern or jk.Simmons. I feel like I'm in one of those conversations where someone's talking about Betty and auntie Nora and wheezing toshack in the queens head as if they're pals of yours but you've never heard of them before

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  6. #51
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    Quote Originally Posted by luka View Post
    I've never heard of whiplash or the interview or metamodern or jk.Simmons. I feel like I'm in one of those conversations where someone's talking about Betty and auntie Nora and wheezing toshack in the queens head as if they're pals of yours but you've never heard of them before
    Ha. Okay - partly my fault for assuming we were definitely talking about metamodernism.

    This may join some dots. Kinda.

    http://www.dazeddigital.com/artsandc...-the-interview

  7. #52
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    All that said, Whiplash is a triple Oscar winning art flick. And 'The Interview' was one of the most notorious and controversial releases of 2014. These are not obscure reference points. datwun linked to a metamodernism webby earlier in the thread.

    The method is often portrayed in the media as unwavering commitment to character - working as a taxi driver and being a dick to the crew style of thing. I mean yeah, to a point - but it's also a commitment to the actual reality of the situation - if the two actors hate eachother, or one is cold or something; it's entirely proper for that to be included.

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    I was really disappointed that Fletcher wasn't a figment of Andrew's imagination, but I was really high and the whole film just reminded me of an advert about anxiety.

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    i can develop and fold this stuff into the dematerialisation stuff. identity is the bit ive been to squeamish to touch on thus far but it's unavoidable.

  10. #55
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    i for one hate role play. stop pretending to be someone else!

  11. #56
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    Quote Originally Posted by luka View Post
    i can develop and fold this stuff into the dematerialisation stuff. identity is the bit ive been to squeamish to touch on thus far but it's unavoidable.

    The culture wars back then always seemed to be about keeping culture from kids. Now the moral panic appears to flow in the opposite direction. The moralizers are young people, not their parents. And the fight is no longer over what we once called family values. It’s for representation — seats at the cultural table on the basis of race, gender and sexuality — in museums, on television, in movies.
    What rarely came up was biography. We rarely dwelled on who these artists were. We were students of the work — its devices, strategies, vision, achievements and problems. We were little deconstructionists. The makers’ personal story? Their intent? Those didn’t matter. The text was all. What has transpired in the past decade — the shifts in power, politics, media, higher education and economics; the calls for reckonings and representation of all sorts — might have transported us to an uneasy new place: post-text
    Beyoncé as the goddess of empowerment who shan’t be blasphemed
    https://www.nytimes.com/interactive/...rtainment.html
    perceptive but i disagree re: the power relationships

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  13. #57
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    one of the things i find a bit odd about this stuff is it seems to be an abandonment of the idea of an underground and a counterculture. the old idea of who cares what the major record labels and the hollywood studios they're hopelessly out of touch or they're just propagandists for capital or whatever, ignore them.

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