![]() To find a “subjective reality,” or a psychological one. ![]() Putting: “ non-actors” or “untried actors,”Įven creatures of Warholian mystique in front of a camera to improvise out scenarios with existential, unknowable outcomes įorcing a distortion and blurring of reality and fiction during the filming process. In a post-Cassavetes lexicon, Norman Mailer’s cinema was bound upon the idea of Of a Picasso-like style he took to films to illuminate our concept of reality, aestheticsĪnd form, and he approached the cinema as an engineer who was trying to create a new artistry out of a patina within an existing Because of how, in delving into cinema, the two-time Pulitzer Prize-winningĪuthor was not only using movie-making as a paint brush in which he could draw yet another intersecting line toward a creation A fourth film, 1987’s Tough Guysĭon’t Dance, would find Mailer making the Hollywood film he had always wanted-all the while embedded withĮxistential and theatrical concepts that he first deployed early in his experimental filmmakingĪpproach to cinema was both quixotic and cubist. ![]() ![]() (1970) which serve as precursors to reality television. His approach produced his three 1960s films: Wild 90 (1968), Beyond the Law (1968), and Maidstone Combining his disenchantment with traditional Hollywood film with the theater, Cubism,Īnd existentialism Norman Mailer crafted his experimental cinema. ![]()
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