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Originally Posted by demonrail666

As much as I still love it, it's maybe more historically significant now than anything else. I'm sure plenty of those who originally mentioned it as an influence when the whole Queer Cinema and B Movie revival thing kicked off never actually saw it. Prior to the web it was really hard to see, even compared with a lot of other underground films, so a lot of its classic status is probably based on reputation more than from actually watching it. And its rarity obviously enhanced its cult status among those who had. But there's also a cult that's built up around Jack Smith himself, which increasingly seems to exist separately from his actual output. I went to a conference on him a couple of years ago and even that was largely just a lot of old East Village types trying to outdo each other with funny anecdotes about him. Either that or linking him to other cultural currents. But invariably it was about him rather than his work.

i wanted to answer him too but melly has left the building (he said temporarily, anyway)

watched lars von trier's medea which is an homage to carl theodor dreyer (it was his screenplay that "von" trier shot). i think it was made for tv, and the dvd looked horrible, not sure if it was a lousy transfer or that's how the original looked (washed out, fucked) but i have to say THE COMPOSITION OF THE SHOTS WAS AMAZING. incredible visual imagination on the part of lvt (or maybe he just ripped off dreyer). in any case-- YES, CINEMA. that is the fucking language of moving pictures. god damn i was blown away by something that looked like an old worn out and faded umax tape from a video archive. simply incredible.

 

 

 

i cant find my favorite shots on the internet but there were some incdebibe shots underwater and shots with projections behind it and such fucking visual poetry, it was incredible.