Charlie Kaufman and Hollywood's Merry Band of Pranksters, Fabulists and Dreamers: An Excursion Into the American New Wave

Charlie Kaufman and Hollywood's Merry Band of Pranksters, Fabulists and Dreamers: An Excursion Into the American New Wave

Derek Hill


because the overdue Nineties, a sophisticated, subversive aspect has been at paintings in the staid confines of the Hollywood dream factory. Young filmmakers like Spike Jonze, Wes Anderson, Michel Gondry, David O. Russell, Richard Linklater, and Sofia Coppola rode in at the coattails of the autonomous movie move that blossomed within the early Nineties and feature controlled to salary a cultured crusade opposed to cowardice of the mind's eye, very like their inventive forebears, the so-called motion picture Brats—Coppola, Scorsese, De Palma, Altman, and Ashby between others—did within the 1970s. But their precise pedigree might be traced again to the cinematic provocateurs of the Nouvelle Vague—such as Truffaut, Goddard, Chabrol, Rohmer, and Rivette—who, within the overdue Fifties and through the Nineteen Sixties, liberated displays world wide with a sequence of movies that challenged our assumptions of what the medium may perhaps provide and the way tales can be told—all of them snapping with type up to they introduced on principles. hugely idiosyncratic but intricately discovered, obtainable but prepared to overthrow the restrictions of formal storytelling, surreal but continually grounded in human feelings, this new film movement captures the angst of its characters and the days within which we are living, yet with a wryness, mind's eye, earnestness, irony, and classy wit that makes the slide into existential melancholy a bit extra fun than it may be.

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