Cmon cmon cmon don’t evoke 9/11 on me*
*
*I hire people to do sub-symbolic stuff
*
This film has only become more and more essential as speculation compounds in its size, manipulation, and corrosiveness… and as tragedy becomes a tool to reproduce spectacles and advance material interests… we’re in a world that captures and categorizes everything with historically unique precision, but the principle, alienating contradiction driving the conflicts of the film still lies in the idealist, colonial, geopolitical filter that has always (at least in recent history) mediated measurements and analyses
Certainly can be described as postmodern to a fault, but it never languishes in the isolation and flattening such conditions produce, Mann knows that there is tangible momentum within global commerce despite (maybe because of) the quasi-universalization of bourgeois malaise and he brings it character through the camera and the edit
Cmon cmon cmon don’t evoke 9/11 on me*
*
*I hire people to do sub-symbolic stuff
*
This film has only become more and more essential as speculation compounds in its size, manipulation, and corrosiveness… and as tragedy becomes a tool to reproduce spectacles and advance material interests… we’re in a world that captures and categorizes everything with historically unique precision, but the principle, alienating contradiction driving the conflicts of the film still lies in the idealist, colonial, geopolitical filter that has always (at least in recent history) mediated measurements and analyses
Certainly can be described as postmodern to a fault, but it never languishes in the isolation and flattening such conditions produce, Mann knows that there is tangible momentum within global commerce despite (maybe because of) the quasi-universalization of bourgeois malaise and he brings it character through the camera and the edit
