Already in this set of posts we’ve looked at Frank Miller’s career before The Dark Knight Returns (Parts 1 and 2), and performed close readings of that series’ respective four chapters (Parts 3, 4, 5, and 6). And the last time around, in Part 7, we examined the character of Batman both before and after Frank Miller had his distinctive way with him. And we could probably stop there, but I think there’s value in surveying Frank Miller’s own career after TDKR, with a special focus on his more recent—and much more controversial—work on Batman.
Posts Tagged ‘The Matrix’
Posted in Uncategorized, tagged Andrew O'Hehir, Ariadne, Bob le flambeur, Bryan Singer, Christopher Higgs, Christopher Nolan, Chuang Tzu, Cornelia Parker, Days of Heaven, Edith Piaf, George P. Cosmatos, Harold Pinter, Inception, Jean Baudrillard, Jim Emerson, Kiss Me Deadly, Lily Hoang, Paul T. Anderson, Philip K. Dick, Quentin Tarrantino, Rififi, Roman Polanski, Ron Silliman, Seinfeld, Simulacra and Simulation, The Asphalt Jungle, The Betrayal, The Dark Knight, The Gateless Gate, The Ghost, The Matrix, The Three Stigmata of Palmer Eldritch, Zabriskie Point on August 8, 2010 | 191 Comments »
Update: Related posts that may interest you:
- “Art as Device, and Device (When it Works) as Miracle“
- “Scott Pilgrim vs. Inception for the Future of the Cinematic Imagination“
- “More on Inception: Shot Economy and 1 + 1 = 1“
- “My Favorite New Movies of 2010“
- “A D Jameson talks about movies #1: The opening scenes of Inception” (YouTube)
- “The Ever Risable Dark Knight” (HTMLGIANT)
- “We Need to Talk About Batman” (HTMLGIANT)
- “Reading Frank Miller’s influences on Christopher Nolan’s Dark Knight Trilogy” (HTMLGIANT)
- “Reading Frank Miller’s Batman: The Dark Knight Returns” parts 1, 2, 3, 4 5, 6, 7, 8
Christopher Nolan, while presumably a rather likable fellow (he does give work to Michael Caine), is a depressingly artless filmmaker. To be sure, some of the concepts in this new one are clever enough (even if they play like weak snatches from Philip K. Dick): the military developed shared dreaming, which then became a tool for corporate espionage—sure thing. The great Dom Cobb and his team now must infiltrate a businessperson’s mind in order to plant the seed of an idea, rather than steal one—a nice enough twist, and a fine enough premise for a caper.
But Nolan then fails to dramatize his concepts. His primary—indeed, practically his only—tool for delivering information to the audience is character dialogue. Rarely does anyone shut his or her mouth during the 148 minutes that are Inception. Its actors are talking threadbare ciphers, eager mouthpieces for their director.
Examples abound. After failing in their mission to deceive Saito, Cobb remarks to his teammate Arthur: “We were supposed to deliver Saito’s expansion plans to Cobol Engineering two hours ago. By now they know we failed.” (A potential response: “Hey, dude, I’m, like, your partner. I know the score!”) An even better one: the line where Cobb points out to Michael Caine’s character—a university professor teaching in Paris—”You know extradition between France and the US is a legal nightmare.” Yes, Mssr. Professor Caine probably does, in fact, know that! But I’m sure that somebody way in the back row was happy to hear.
Posted in Uncategorized, tagged Alec Empire, Arnold Schönberg, avant-garde, Diego Velázquez, Edgar Degas, Edouard Manet, experimental art, Frank Kermode, Ghost in the Shell, Harry Potter, Henri de Saint-Simon, Impressionism, innovation, J.K. Rowling, James Peterson, John Cage, La Monte Young, Ludwig Wittgenstein, Matei Călinescu, Minimalism, Olinde Rodrigues, outsider art, Philip Glass, Roman Jakobson, Salon des Refusés, serialist music, Stan Brakhage, Steve Reich, Terry Riley, the dominant, The Matrix, Titian, Wachowski on March 12, 2010 | 24 Comments »
One typically hears unusual art called three different things, often interchangeably:
But what do these three words mean? Do they mean the same thing? I don’t think so, and in this post I’ll point out some basic differences between them. I’ll also define what I think experimental art essentially is, and how such art operates.