Lmfao, I feel the energy

Images become motifs, and motifs become transparent symbols, caught in the rigidity of narrative expectation. I beleive the form is there to experiment with a reimagining of protagonism and its political implications, but the film cannot escape the orbit of classical narrativity, limiting its reach

Exactly those! Very, historically, well articulated and researched!

Recommend a few podcast episodes my partner got me to listen to, that of Behind the Bastards, which discusses the liberal media’s role during WWII and before, in providing legitimacy to the rise of fascism

These weeds haveent been cut in decades, and we’re all just trying to learn which of them don’t have thorns. It’s a complicated situation, but one we’ve all got to address head on and with seriousness.

Such an aesthetic inclination, too, is one that causes me trouble as I go to sleep. Is all this celluloid and its spectacle within the festival circuit worth the budget it takes up: what is cut in its favor? Priorities come back to methodological and ethical decision making

I think about the camera being developed to capture 3D space, rendering a focus puller obselete, so often. I think about the industrial development of all these labour roles as a certification of industrial rule, a point against pushing due to the money people make a living off of, so often

I do think thats an important questions with many answers that I beleive comes down to ethical judgements regarding the position of these tools in relation to their human counterparts.

I’ve many thoughts on the excess of labour on sets, just as I have issues with technology replacing it

These Twitter-like spaces are never good for this kind of analytical dialogue, which is in need to more in depth, flexible, and lucid modes of expression.

The core problem, I feel, is industrialism as an amorphous hegemony that slithers into all levels of praxis, unless that praxis is intent on rebuking such. I think developing technology and its uses fits well into this discourse!

I’m so sorry about how much is here, and perhaps its messiness.

Almost all productions operate on indsutrialist style modals, and this is I think a core issue, built with nostalgia, aspiration, and many other affective internalizations in collaboration with financial risk/vs/reward mentalities from financiers and the filmmakers beset by them

And, I’ll posit, working outside a studio system means little to nothing anymore, unless there is active attempt to confront its machinations and latent ideological faculties within your work and its production. The Brutalist does not do that.

(Lmk if I’m misrepresenting your intentions!) That this lead to the current issue of AI is, I think, an excellent course through which we can dissect these methods of resourcefulness against ideologies of efficiency, nagging at intersecting and knotted conceits of ethics within these situations

I find the example you give confusing because I do think it’s a good example of thinking within one’s limitations and utilizing it as a resource. Limiting how much money you spend and making sure those you spend it on instead are very well compensated is the ideal, imo!

has still led to circumstances that are worthy of discourse and debate, as most all production contexts should be. Both questions of equitable production and the function of art are, in beleive, inherently tied to their processes of creation and the resources utilized to accomplish such.

Efficiency as an ideology moves in2 the function of the $ and its ‘stretchability,’ however well the budget was utilized here 2 regard labour, which I can’t judge because I don’t have any info about wages, etc (I wish they would release a detailed budget alongside these proclamations of its size!)

Hmmm, I don’t think I can agree with you here, unless I might be misunderstanding. All budget levels I think are applicable to this thought, in that there is a form of methodology — and it’s pedagogy behind it — which functions to determine where money needs to go before it goes elsewhere.

That is to say, as I have been for a few years now, I beleive that Hollywood has taught artists/producers around the world to work poorly w/money, to find methods that place aspirations before reality, and conclude with “acceptably” problematic circumstances, against all plausibly better judgement