Cassavetes on Cassavetes. Ray Carney is Professor of Film and American Studies and Director of the undergraduate and graduate Film Studies programs at. Carney, Ray - Cassavetes on terney.info - Ebook download as PDF File . pdf), Text File .txt) or read book online. "Cassavetes' films were quarried from his most private feelings and experiences," writes editor Ray Carney in his introduction to Cassavetes on Cassavetes, and.
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Movie Dialogue Conventions and John Cassavetes. Hollywood Movie Dialogue. You're at a party. A man you don't recognize addresses you by name. few moments to realize that this is Cassavetes speaking. Surprised Meanwhile, on the phone, Cassavetes is saying of Love Streams, “Every bit of it there's no. Cassavetes playing Phillip in Paul Mazursky's Tempest they were doing: John Cassavetes, amidst flashes of lightning, saying with all the.
She lowers her arms and puffs disappointedly. She starts to walk on the street, very close to the cars. Suddenly she raises her arms, and hops happily and soon she sees a school bus approaching.
She jumps even more. She is happy and euphoric. She leaps and punches the air with joy.
The bus stops. She cheers. One by one. She and her children go home on foot.
They run and have fun along the way. They arrive home tired due to the race and sit down on the door way. They talk a bit about the sprint they had just done and then the mother asks a question. The acting is also a determinant factor in the discourse of the work, materializing other ways for a visual, sound, kinesthetic, imagery, and cognitive reading.
He is mainly acknowledged for his production as a filmmaker. In the example cited, the situation could be summarized simply as a mother who is waiting for her children to return from school, but the director of the film together with the actress Gena Rowlands, who played Mabel, amplify the scene to other possibilities and textures.
The scene is at the same time tense and delightful. Mabel is at the same time a super mother and an insane woman in the middle of the street. She is at the same time anxious, nervous, and happy with the waiting.
Of course, just the description of the scene is not sufficient for us to perceive all these distinctions. Anyway, I opted for the use of some adverbs such as possibly or probably, besides the verb seem, to try to bring to the narrative description of the scene a bit of complexity, ambiguity, and to open the narration beyond a closed reading, just like the film is.
And the most ambiguous attitudes of the characters are precisely the ones that make it possible for the film to amplify its meaning. And it is from determined actions, or better, physical attitudes from Mabel that the situation of the scene gains complexity. But it is precisely this strangeness that enriches her personality and enhances her actions in relation with other characters, with space and mainly enlarges her own character.
To Lessing , p. To the German thinker of the Enlightenment period, the pregnant moment would be the one in which the image itself would be enough on its own, in which this image would contemplate the past and the future and would not depend on them. An crucial instant that would make us think and feel beyond the represented image, though without historical or temporal determinations. It is as if an image would be worth on its own without historical, narrative or thematic dependence.
It is to be affected by an image, be it in painting, in the theater or in the cinema, simply because it was capable of arising affections and not because it was inserted within a context or a narrative. Roland Barthes , p. This crucial instant, completely concrete and completely abstract is what Lessing will call in Laocoon the pregnant moment. Barthes thinks the representation as fragment not only in painting, but also in the theater and in the cinema.
And a fragmentation of pregnant moment or perfect instants is what artists such as John Cassavetes did in his films. It was thinking on the possibility of the theater and the cinema of reaching these pregnant moments that I found, in the reflections of Gilles Deleuze about the body in the cinema, precise and instigating data about this theme. Deleuze identified the body as the main medium to reveal instants that are disconnected to a historical time.
Thus, the objective established here is to identify these reflections elaborated by Deleuze in the cinema and think how they can simultaneously contribute to the theater.
Deleuze identified that certain cinematography, specially the one produced from the Neorealism and the Nouvelle Vague, worked the body in a way that its expression was already a thought on its own.
Not that the body thinks, but its presence animates thoughts that are disconnected to a rational logic. It is in this way that Deleuze, from the cinema, starts thinking of the potentialities of the body.
Give me a body: this is the philosophical downfall formula. The body is no longer an obstacle which separates thought from the self, what must be surpassed in order to be able to reason. It is, on the contrary, what dives in or what one needs to dive in, in order to reach the unthinkable, that is, life.
Not that the body thinks, but, stubborn, disobedient, it forces to think, and it forces to think what eludes from thought, it will take thoughts to the categories of life.
The categories of life are precisely the attitudes of the body, its postures … It is by the body and not through the body that the cinema realizes its wed locks with the spirit, with thought DELEUZE, , p.
Onstage, we see Maurice John Cassavetes in character as Virginia's husband, Marty, seated at the top of a staircase. Myrtle now enters as Virginia, and the two actors begin to play a scene in which they argue after she has returned home late from shopping and drinking alone at a bar.
After this brief scene, the film's opening credits begin. This introductory sequence is an unusual prelude to the rest of Opening Night, one that establishes a wholly unconventional relationship of the spectator to the action both of the film and of the play within it.
The film's first shot places us in the wings: we do not yet know what kind of play is being performed or that the play has not yet opened officially at this point, The Second Woman is in a trial run at a small theater in New Haven before [End Page ] debuting on Broadway.
The shots of the lighting controls and rising curtain are similarly disorienting.
Cassavetes shows the curtain rising not in a fixed long shot from the audience, but in close-up with a mobile camera which is positioned at the very edge of the stage. Where we might expect the film camera to reduplicate the proscenium arch, we are instead placed on the border Access options available:.
Nobody wants to see a crazy, middle-aged dame, they said. Luckily enough, both for Cassavetes and for all of us in the audience, the filmmaking couple had a lot of friends who fell in love with the powerful script and who were willing to chip in and even become a part of the project.
Cassavetes himself mortgaged his house. The crew consisted of both professionals and students from the American Film Institute, where the director worked as the first filmmaker in residence. Unable to find a distributor, he called theater owners himself, asking them to run the film.
It was one of the very first cases where an independent film was distributed without the use of distributors or sub-distributors. Unexpected help came from Richard Dreyfuss, of all people.