By Jason Horsley
Movie blurs the road among fantasy and truth higher than the other creative medium, you'll argue. utilizing videos to discover the subconscious nation-states of society as a way to succeed in a greater knowing of what drives it, this e-book examines filmmakers and movies that heart on schizophrenic issues of alienation, paranoia, breakdown, myth, goals, dementia and violence, and that address--as entertainment--the schizophrenic adventure. The lack of person identification as mirrored within the motion pictures is investigated, in addition to the shamanic strength inherent within the broader subject matter
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Extra resources for The secret life of movies : schizophrenic and shamanic journeys in American cinema
The direct result of this is Blondy’s “transformation” into the Man with No Name. In exchange for his own coat (with which he covers the dying man), he takes the dead man’s poncho; and since it is the same poncho already familiar to us from the ﬁrst two movies, the effect is something like that of Clark Kent putting on his red-andblues at last. * At this point, Tuco steals the dead soldier’s horse and gallops off in search of the goal, abandoning Blondy. Blondy, unrufﬂed by the inevitable betrayal, coolly lights the fuse on a handy canon (using the same cheroot he shared with a dead man) and (his “aim” now preterhumanly precise) blows Tuco off his horse.
On the other hand, for a few brief years, artists like Coppola, Fosse, Peckinpah, Boorman, Altman, Polanski, Scorsese, De Palma, and Bertolucci were making unprecedentedly audacious steps towards diagnosing the problem. For a brief time, with the great (and not-so great) American 1970 movies (The Godfather, Cabaret, A Clockwork Orange, Straw Dogs, McCabe and Mrs. Miller, Harold and Maude, Deliverance, Last Tango in Paris, Mean Streets, The 42 THE SECRET LIFE OF MOVIES Last Detail, Phantom of the Paradise, Badlands, Pat Garrett and Billy the Kid, The Conversation, The Long Goodbye, Chinatown, The Texas Chainsaw Massacre, The Godfather Part Two, Bring Me the Head of Alfredo Garcia, Nashville, Taxi Driver, Carrie), the art form seemed to have a direct line to the divided psyche of the nation, and did not ﬂinch from the schizophrenic experience.
Tuco’s confrontation with his brother may soften him up some, but in any case he forms a new kinship, or at least afﬁliation, with Blondy, his surrogate brother. From here, they embark on their quest together. Blondy’s past is never disclosed, nor is he ever associated with family in any way. ” Once Blondy has recovered sufﬁciently, the two men ride off in search of the cemetery (since he knows the destination, Tuco, the ape, is leading); before they get far, however, they are intercepted by a wagonload of soldiers.