#cinematic references

because I am FINALLY catching up to season 3 of Jujutsu Kaisen and still can't get over the absolute MASTER PIECE of Maki vs the Zenin Clan.

So here's a humble wip of Maki as the Bride.

"New York Herald Tribune....New York Herald Tribune..."

Acossado (1960) - Jean-Luc Godard

Hello anon!

My thoughts are that I completely agree! 

I'm almost too convinced of this scenario at this point. There's foreshadowing (Tysha and various other woodsy chases, suspiciously placed in the background without a "big" event to match them yet) and it would very neatly tie the Girl in Grey into fairytale territory with Little Red Riding Hood and Disney's Beauty and the Beast. 

The Hitchcock Hotel By Stephanie Wrobel There’s an air of tension and unspoken rivalry when five former college classmates converge for a weekend at The Hitchcock Hotel (Berkley, 340 pp., $29), a quaint yet eerie inn nestled in New England, brimming with cinematic memorabilia. The hotel is run by Alfred Smettle, a once-close friend who has now become an enigmatic host. Their paths have diverged…

So in my film noir class, we’ve been talking a bit about the tendency towards intertextuality and referencing in postmodern movies: you know, all the references to other movies which abound in Tarantino’s movies and the like. However, a lot of the texts we read complain about this. Critic and author of More than Night: Film Noir and Its Contexts James Naremore finds these barrages of cinematic homage to be airy and pointless:

“If anything characterizes postmodern art, it is what Peter Wollen describes as a relentless “historicism and eclecticism, which plunders the image-bank and the word-horde for the material of parody, pastiche, and, in some extreme cases, plagiarism.” But postmodern movies have a very short historical memory, usually limiting their “image-bank” to the period since 1930″ (196). Naremore, while he admits to enjoying some postmodern movies like Pulp Fiction, claims he finds them substance-free and clever for the sake of being clever. He says he “[wishes] it were possible for directors to follow the advice that Orson Welles once gave to Peter Bogdanovich,” that movies are “’full of good things which really ought to be invented all over again... Invented-- not repeated... images discovered-- not referred to’” (219).

Yet the other day, I was listening to Terry Gilliam’s audio commentary on his film Brazil and he mentioned how he enjoyed cinematic cross-referencing and felt that when used right could add a richness to a movie, deeming them “echoes within echoes.” Brazil quotes images from Battleship Potemkin and Metropolis, and has cubicle-constricted characters watching Casablanca, yet none of it seems distracting or designed to get brownie points from cinephiles.