I think the 6:46 and the 6:47 are the same clip, just with a bit of error in there. I meant as opposed to the 30 second or minute and a half clips.
I loved the bell/woman bit
Somehow, I think disneyfying Dali makes him way weirder.
Interstitial Film?
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I think the 6:46 and the 6:47 are the same clip, just with a bit of error in there. I meant as opposed to the 30 second or minute and a half clips.
I loved the bell/woman bit
Somehow, I think disneyfying Dali makes him way weirder.
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So that answers the old question- if you cracked open Disney's and Dali's heads, whisked up the combined contents and put it in the frypan on high heat, what would the resulting omelette taste like?
Pretty good, it turns out.
Pretty good, it turns out.
The Pornographers
Warm Water Under a Red Bridge
Both by Shohei Immamura. All of his films have elements that are pushing interstitial, but those two (I think) are the most obvious.
Warm Water Under a Red Bridge
Both by Shohei Immamura. All of his films have elements that are pushing interstitial, but those two (I think) are the most obvious.
Liosse de Velishaf
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Probably. Lack of coffee + non-English name = stupidity on my part. >_<
Bumping up your mention of this film because it is most excellent. You must be in the Denver area, too, huh? Because in April that's the only place INK was playing. Nowadays it appears to be getting limited screenings in NYC, Seattle, Portland, etc. I wish a big distributor would pick it up--I'd be so thrilled to see it in the big Century Theater in Boulder!
Why do so many reviews refer to INK as science fiction? I've been calling it "urban fantasy" myself, because it takes place in the real world but posits a magical/fantastical aspect.
Angels in America-- I just finished this very long, very hard-to-watch film. I recommend it to those who are OK with spiritual death-drives.
AMC
AMC
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Agreed; the book and its sequels, Daywatch and Twilight Watch, are great. Very Russian, but very accessible too.
I guess any movie by Peter Greenaway might be called interstitial, if you have to call it something.
Maybe Last Year at Marienbad.
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I think someone already mentioned "The Fisher King".
"Joe Vs the Volcano" is one of my favorites.
"Joe Vs the Volcano" is one of my favorites.
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I've watched a couple movies on this list, courtesy of Netflicks. I've got a quibble. I think there's this notion that unconventional=interstitial. There's nothing interstitial about "Oldboy", for instance. That was straight-up psychological thriller. Though it had a few interesting camera tricks, that does not equal "interstitial". There was no blend of genres, or feeling of strangeness as one realized one was spinning beyond the norms of film genre boundaries.
"La Jetee", for instance, married highest of the high, art house, cine-style with very low B-movie science fiction.
Terry Gilliam's movie "The Adventures of Baron Munchausen" is not interstitial at all, nor is "Time Bandits". They're fantasy.
"The New World" is just a very stylized - and f-ing wonderful - historical romance.
"The Pillow Book", I think, is also not quite Interstitial, just really f-ed up Erotica.
Is oddity enough to make something in-between? I don't think so.
The only movie mentioned that I have seen so far, which I would agree is "Interstitial", is Dali Destino.
I think it's very easy to say something I like that is not like a Hollywood movie is interstitial, without a clearer sense of what "Interstitial" really means to the cinema.
Who wants to try coming up with a better definition of "Interstitial" for the purposes of film?
"La Jetee", for instance, married highest of the high, art house, cine-style with very low B-movie science fiction.
Terry Gilliam's movie "The Adventures of Baron Munchausen" is not interstitial at all, nor is "Time Bandits". They're fantasy.
"The New World" is just a very stylized - and f-ing wonderful - historical romance.
"The Pillow Book", I think, is also not quite Interstitial, just really f-ed up Erotica.
Is oddity enough to make something in-between? I don't think so.
The only movie mentioned that I have seen so far, which I would agree is "Interstitial", is Dali Destino.
I think it's very easy to say something I like that is not like a Hollywood movie is interstitial, without a clearer sense of what "Interstitial" really means to the cinema.
Who wants to try coming up with a better definition of "Interstitial" for the purposes of film?
What's the difference between un-conventional and between conventions?
(I viewed Oldboy as a horror flick with a tendency toward pulp. Not to mention the con-artist direction)
(I viewed Oldboy as a horror flick with a tendency toward pulp. Not to mention the con-artist direction)
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Exactly AMCrenshaw. That's exactly my point. Like, for example, George RR Martin writes unconventional epic fantasy (where main characters can actually die, among other things), but it is not in between conventions. It is quite clearly of the Tolkein-esque fantasy tradition.
Then, you have something like China Mieville's "The City & The City" wherein noir crime drama is combined with surrealist fantasy world-building. That's Interstitial, in that two genres blur together as much as the cities in the book.
Then, you have something like China Mieville's "The City & The City" wherein noir crime drama is combined with surrealist fantasy world-building. That's Interstitial, in that two genres blur together as much as the cities in the book.
but are you talking about a combination of generic conventions or a work which falls between them? i see interstitial as the latter, but that makes it all the harder to define. for example, are glen cook's Garret novels interstitial? well probably not, we have a name for that kind of fiction now even though the line between the genres has blurred. what separates it from the city & the city? maybe surrealism vs magic. maybe the pretense that mieville is an interstitial writer, and cook is not.
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Ruv Draba
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I think that the definition of interstitial is transient and dependent. Our taxonomies evolve as our fiction conventions do. The unconventional can become a convention, and gaps between genres become filled by sub-genres.
What's really interesting about interstitial fiction is how it's perceived before it's understood. Especially, what new messages or appreciations we can deliver, when those things are still fresh on the mind.
Creatively, I think that there's a difference between 'between the cracks' (e.g. Mieville and the New Weird movement) and 'off the map' (e.g. Joyce). One tries to wring new perception from the well-trodden; the other seeks to hack sense from entirely unfamiliar terrain. If the latter is mountain-climbing, the former is urban spelunking.
What's really interesting about interstitial fiction is how it's perceived before it's understood. Especially, what new messages or appreciations we can deliver, when those things are still fresh on the mind.
Creatively, I think that there's a difference between 'between the cracks' (e.g. Mieville and the New Weird movement) and 'off the map' (e.g. Joyce). One tries to wring new perception from the well-trodden; the other seeks to hack sense from entirely unfamiliar terrain. If the latter is mountain-climbing, the former is urban spelunking.
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I don't have much time for a substantial comment--I'm at the World Fantasy Convention, and should go register and get breakfast Real Soon Now--but I just wanted to say that I love this analogy.
I've been giving thought as to what makes a movie interstitial, but it's all kind of blurry at the moment. Certainly Baron Munchausen is a metafiction--a fantasy about fantasy--but that's a very common theme in fantasy anyway, so.
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To me, an interstitial movie would be "Shoot the Piano Player" by Truffaut. The thing about it is, you never really know what kind of movie you're in. It goes from crime drama to biopic to romance to tragedy to thriller... The most interstitial moment, to me, is when the Piano Player is kidnapped with his love interest, and in the car they hold a friendly conversation with the dangerous criminals as if they weren't in a thriller situation, but in a romance comedy with friends.
I think a definition of Interstitial Film to me, is that I never really know what kind of movie I'm watching, until I reach a point, in my viewing, where I just give up and follow along wherever the film takes me.
Like "Shoot the Piano Player".
(Back from WFC today: Thanks for the cookies, Sharon! They're awesome!)
I think a definition of Interstitial Film to me, is that I never really know what kind of movie I'm watching, until I reach a point, in my viewing, where I just give up and follow along wherever the film takes me.
Like "Shoot the Piano Player".
(Back from WFC today: Thanks for the cookies, Sharon! They're awesome!)
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One thing is that movies are fairly enthusiastic about borrowing and cross-pollinating from other genres while still remaining in their genre. Take District 9 as a recent example: structurally a mockumentary, but still undebatably science fiction.
Fiction does this too, but usually not quite as enthusiastically without knocking itself out of genre and into the interstices. (Musical comedy Star Trek tie-in novels notwithstanding...)
(Glad you liked the cookies, badducky! I've been home from WFC since Tuesday night, but am only now getting back enough brain to start posting...)
Fiction does this too, but usually not quite as enthusiastically without knocking itself out of genre and into the interstices. (Musical comedy Star Trek tie-in novels notwithstanding...)
(Glad you liked the cookies, badducky! I've been home from WFC since Tuesday night, but am only now getting back enough brain to start posting...)
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