Comments on: Maggots by Brian Chippendale http://madinkbeard.com/archives/maggots-by-brian-chippendale { Derik Badman's Writing on Comics (mostly) } Wed, 25 Jan 2012 14:32:36 +0000 hourly 1 http://wordpress.org/?v=3.3.1 By: DerikB http://madinkbeard.com/archives/maggots-by-brian-chippendale/comment-page-1#comment-119964 DerikB Thu, 29 May 2008 18:36:26 +0000 http://madinkbeard.com/?p=910#comment-119964 I don't think that is limited to late Godard, you see that in almost all of his films. I recently skimmed an article about literary adaptations in film and film noir. So many of the great films noir were adapted from not very good novels. Godard similarly takes a novel as his framework in a lot of his works (like Band of Outsiders or Contempt). I hadn't heard about Everything is Cinema... 700 pages on Godard. You'll have to let me know how it is. I don’t think that is limited to late Godard, you see that in almost all of his films.

I recently skimmed an article about literary adaptations in film and film noir. So many of the great films noir were adapted from not very good novels. Godard similarly takes a novel as his framework in a lot of his works (like Band of Outsiders or Contempt).

I hadn’t heard about Everything is Cinema… 700 pages on Godard. You’ll have to let me know how it is.

]]> By: Craig Fischer http://madinkbeard.com/archives/maggots-by-brian-chippendale/comment-page-1#comment-119955 Craig Fischer Thu, 29 May 2008 17:09:26 +0000 http://madinkbeard.com/?p=910#comment-119955 Derik, it’s interesting that you invoke Sontag on Godard (and Louis Feuillade) in order to talk about MAGGOTS, because when I was writing my Thought Balloonists post on MAGGOTS, I thought a lot about late-period Godard. When I watch films like FOR EVER MOZART (1996) or NOTRE MUSIQUE (2004), I’m struck by two things: (1.) that these films have characters that seemingly pass through a relatively conventional plot, and (2.) that Godard has no interest in either the characters or the plot, and will derail or put up obstacles to the audience’s comprehension of said plot whenever he gets the chance. I got the same feeling from MAGGOTS: Chippendale puts on a show with characters and plot incidents, but his interests lie elsewhere--in compulsive drawing, perhaps, and in what you identify as his anti-audience “diaristic” impulse. I'm about 100 pages into EVERYTHING IS CINEMA... Derik, it’s interesting that you invoke Sontag on Godard (and Louis Feuillade) in order to talk about MAGGOTS, because when I was writing my Thought Balloonists post on MAGGOTS, I thought a lot about late-period Godard. When I watch films like FOR EVER MOZART (1996) or NOTRE MUSIQUE (2004), I’m struck by two things: (1.) that these films have characters that seemingly pass through a relatively conventional plot, and (2.) that Godard has no interest in either the characters or the plot, and will derail or put up obstacles to the audience’s comprehension of said plot whenever he gets the chance. I got the same feeling from MAGGOTS: Chippendale puts on a show with characters and plot incidents, but his interests lie elsewhere–in compulsive drawing, perhaps, and in what you identify as his anti-audience “diaristic” impulse.

I’m about 100 pages into EVERYTHING IS CINEMA…

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