Speaking of women working in cinema, whom would you think of? Agnes Varda? Sofia Coppola? Chances are they probably come from the Western Hemisphere.
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Speaking of women working in cinema, whom would you think of? Agnes Varda? Sofia Coppola? Chances are they probably come from the Western Hemisphere.
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The works are real, the actions are real – the only debate surrounds categorization, which is something to which art might be inherently parallel.
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The translation of dance onto film has long mystified cineastes, who grapple with capturing its red-blooded nature without resorting to mere documentation.
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Long dismissed as mere cosmetics and playing dress-up, women’s cinematic fashions have inspired far-reaching cultural trends by reflecting or encouraging resilience.
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With so much to unpack and take into account, we are forced to think for ourselves and consider what both unites and separates the visual from the sonic, filling in that sublime gap with the emotional responses solicited by the works.
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After the creative boom of the ‘70s, the Hollywood pendulum swung away from the cinematic achievements it had produced at its auteur zenith and towards the lowest common denominator.
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Even the decade’s less obviously male-driven films situated themselves firmly in the masculine camp.
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The move towards detached fantasy would ultimately mark the ‘60s as one of the most backwards-looking decade in Oscar history, giving seven top prizes to movies that dwell on times gone by.
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Seeing that this was the decade that cemented the notion of Americana as ideal and continued to ride the jingoistic wave of the post-war late ‘40s, it scarcely comes as a surprise that the Academy would want to rise above the grim immorality on display in these films.
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