/tv/ is too trash for cinema

>/tv/ is too trash for cinema
>Veeky Forums is too trash for literature
and I have no friends.

Pic related, me alone feeling bad for being in a typical Kurosawa movie, you all standing painlessly and staring.

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If you honestly like Kurosawa you should feel right at home among the embryos of /TV/

Leave kino to the big boys

dumb phoneposter

Your thread is probably going to get deleted, but feel free to talk with me about film or literature. I know more about film but I can talk about literature too.

I've gotten about 10 recommendations from Veeky Forums in the last 5 days, and done some fine shitposting. You are not a special snowflake, fully half the people here have read more than you, and the fact that you think Kurosawa is some kind of end-tier to cinema studies just proves my point. I dislike throwing this word around, so I will obscure it. PSEUD

rec me the good film stuff pls

Let me just add:
>/mu/ is too trash for music
>Veeky Forums is too trash for science

>/gif/ is too trash for patrician tier masturbation

I was about to write that too haha

There's no reason for you to post here if all you are looking for is recommendations. That's the only thing /tv/ does and you can easily get recs from them.

If you wanted to talk about Alain Resnais, Chris Marker or Oshima Nagisa and their contributions to film form, I'm your guy.

The greatest filmmaker of all time is George Lucas though.

What is Daisies of literature? Who is Jakubisko of literature?

youtube.com/watch?v=j4z3xv2l9_k

>RLM
wew
I hope you're not the same guy I responded to, because if you claim to be well versed in film and still respect RLM's opinions, then you've got problems.

This Is not me.

George Lucas is a garbage filmmaker and an okay worldbuilder. Walter Murch on the other hand is a genius editor and sound designer.

That's the only valid reason to like THX 1138

>That's the only valid reason to like THX 1138
lol
The visuals were the draw.

You're a pleb m8. Citing Kurosawa as some sort of master reference is so transparent it hurts.

THESE ARE MY FAVORITES:
Cassavettes, Lynch, Teshigahara, Suzuki, Joon-ho (older stuff), Antonioni, Argento, Bava, Rossellini

This is probably not a very accurate list but I'm doing a lab right now so this is what you get.

I also think Godard's Contempt is overrated. I think he jammed that soundtrack into so many scenes that it's insufferable. I'm on board with Bresson's theory of music in film

you dont get it. It was meant to mock overusing music in hollywood movies

Yeah that doesn't really do it for me. Even if it's meant as a criticism, it's undeniably jarring and obnoxious. i suppose I don't give it a pass merely because it's done satirically. As the film stands, I didn't enjoy it.

>you dont get it.
stopped reading there

I don't know which ones you want to talk about out of that.

I know a lot about Cassavetes, I admire him for his purity of form.

I've never been particularly impressed by Lynch, he does some interesting things and usually enjoy what he makes but I've never thought of him as a master.

Teshigahara is a genius, I've seen all of his films apart from Princess Goh and Summer Soldiers. Everything by him that isn't Woman in the Dunes is criminally under watched.

Suzuki is fun, but there's not too much going on behind the curtain. I like him fine though.

I've never gotten into Korean Cinema. Joon Ho has memories of a murder which is pretty good but I thought the Host was just cheesy and his newer stuff hasn't impressed me much.

Antonioni is a master.

I'm not into Argento or Bava.

Rosselini is fine, if a bit staid. I'm not a huge fan of neo-realism. It always feels like depression porn to me.

Godard is pretty awful. He steals from Bergman constantly which in and of itself isn't that big a crime but he uses everything he steals in less interesting and more literal ways.

I want you to make a film.

pls stop waiting hours between replies

how is he stealing from bergman??

>you don't get it (In relation to Godard)
You know, a lot of the time Godard didn't "get it" either.

Breathless was a mistake, the jump cuts, the jarring scene transitions, the anticlimax were all mistakes that got lauded and Godard decided he was "experimental".

If you don't believe me (which is understandable because I'm just some anonymous fuck on an image board), look into the making of the film. Jean-Pierre Melville was an icon to Godard and Truffaut, his best friend, had just completed the 400 blows which is a quite finely directed personal film. So there was a lot of pressure on Godard to produce something. It's very likely Godard was actually trying his best to make a straightforward movie that was just a throwback to Huston and Melville with slightly more social context.

The problem of course was that Godard was a novice at the time and in way over his head. He "invented" jump cuts because after shooting stopped he ended up with these scenes that just went on and on. Melville, who actually makes a cameo in it, came into the editing room and told Godard to just "cut to the good parts" because it was so fucking bad.

Godard eventually learned the craft but had gained this reputation as an "experimenter" and was always trying to live up to that. It's why his films are all so empty. If you look at his post Maoist phase, it really shows you the true Godard after he's exhausted all the political subtext he hid behind early in his career.

There are a lot of assumptions made in this post and you seem to be approaching the issue with a bias.

Summer with Monika (Vivre Sa Vie) and Persona (Week End) for sure both of which are confirmed by Godard in interviews.

while i am not fan of breathless, i really like pierrot le fou and weekend. It has some peculiar charm, very agressive and witty satire, cars bumping each others, furious burgeoises, its hard to explain but i liked those elements. Godard striked my interest in french new wave, and while i watched some directors that are known as better than him, i still havent discover something similiar in this aggressive,colorful and self-referential style. Would you care to recommend something similiar?

>both of which are confirmed by Godard in interviews.
source

Not him, and he'll tell you not to, but watch American Graffiti.

>tfw you think you're so much more intelligent than everyone else but you're really just revealing what a know-nothing pleb you are

No wonder you don't have any friends

Anyone here into Duras' filmography? India Song was almost unbearable to watch for me and although I liked Destroy, She Said I found it to be quite tedious too. Maybe it's the dialogues.

>Duras
Klingon cinema has been in a sorry state for decades.

Oshima is a genius.

He did almost everything Godard does only earlier and better executed.

If you want color films, Cruel Story of Youth (which came out around the same time as breathless), Pleasures of the Flesh (which I'm actually in the process of adapting) and Boy are all highly recommend for their use of color and lighting.

Oh, and Oshima loved Godard, so there's a good chance you'll find it interesting.

>Oshima loved Godard
>Oshima is a genius

>you don't like Godard

really made me think

It's in Godard on Godard or whatever his interview book is called. I'm not looking up page numbers for you.

Persona came out in 1966 and Bibi Andersson has a scene where she recounts a sexual encounter she had at length. This same thing happens in the beginning of Week End (1967) except the story is worse, the scene is static (and lasts for nearly 10 minutes) and Godard is insufferably moving the camera in and out to simulate the movements of sex. This is Godard's main problem, a complete lack of subtlety.

Hm, you're complaints are very subjective.
But your "static" comment makes me see why you don't appreciate Lucas.

I don't have to agree with all the people I like.

This isn't some special club where we all need to agree.

those are different scene. Bergman scene is skinbare emotional, Godard is vulgar and its clearly a satire. There is nothing similiar in those movies besides these

H O U R O F T H E W O L F

O

U

R

O

F

T

H

E

W

O

L

F

Godard is probably the filmmaker who found the most effective way to combine pretentiousness and vapidness. Week-end actually made me nauseous with its infinite catalogue of allusions which never penetrate beneath a naive superficiality. Quotes from Bataille and Lautréamont don't actually make your film worthwhile if you can't offer any commentary or create context which would give them a deeper meaning.

what are some films that include quirky intertitles, tape in peculiar colours, or rapid changing in aspect ratio. I am very interested in this archaic experimentation of 60s french, yugoslavian or czech new wave

>or rapid changing in aspect ratio.
for what purpose

Mmm I might argue on the behalf of Lynch which I know is a very mainstream (and thus paradoxically unpopular/pleb) opinion. I do think he has contributed some great films to the American canon, especially Blue Velvet. I have a bit of an irrational attachment to Eraserhead since I watched it so many times in preparation for a paper.

You don't like any of the giallo films though? I couldn't agree more regarding Teshigahara btw

God I fucking hated that part. I was so repulsed by Weekend. The only redeemable scene is the traffic jam. One of the very few canonical films i've seen that is devoid of any emotion

>canonical films

It's lazy, yeah, but you know what I mean. Don't be a pedant

Too often things Godard does are attributed to "satire" when they're in actuality neither funny nor incisive.

I don't hate Lynch. I just don't find anything too amazing. His tone interesting though.

No, no real interest in old horror.

>me alone feeling bad for being in a typical Kurosawa movie, you all standing painlessly

Can you fucking read?

>me alone feeling bad for being in a typical Kurosawa movie, you all standing painlessly

Can you fucking read?

>me alone feeling bad for being in a typical Kurosawa movie, you all standing painlessly

Can you fucking read?

OP here.
Everyone spitting on Kurosawa and me, when I was myself spitting on Kurosawa and they didn't even read the post.

I did it on purpose. I knew everyone would not have read.
No one here reads. Not even in your fucking own native language. Veeky Forums is just vanity.

fat fuck stop crying

>me alone feeling bad for being in a typical Kurosawa movie, you all standing painlessly

Can you fucking read?

lmao

Thanks, you are the only one niece.

I have a KG account and sometimes I search rare movies, or fragments.
(As far as someone holds a copy, I try my best to find and contact that person if I want a recording of that copy).
For instance, speaking of silly Jidaigeki, I own the fragments of A Diary of Chuji's Travels.
"It has historical value".
I usually try to construct historical answers or reasons for a movie to be.
I can pretty much understand any movie from the "public" point of view as they are usually meant to be easy to understand. niches are usually not that sophisticated as well.
Speaking of Japanese"Yoshishige Yoshida" if it is even niche, it is not that complicated.

I am very confused of what I want from arts.
I feel no concept holds complexity. But I like stories, I like to imagine things after a movie and watch them again.

OP here:
I didn't write anything else. I didn't ask recommendations. But if you want to share contacts I just made an empty email: [email protected]

I feel bad because it is typical.
You are into it because you are standing painlessly. Maybe you can read.

Can you fucking think?

>Spitting on Kurosawa
Lmao thats even more pleb holy shit.

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