( FREE ) ♚ 8 1/2 ⚕ MOBI eBook or Kindle ePUB free

I read this immediately after watching the movie for the first time to help understand thesubtle aspects of 81 2 A lot of what s in here is helpful and insightful, but the overly academic style is grating and, frankly, some of the points made are a bit far fetched and smack of a college English essay making grandiose leaps and speculations. Miller s essays are all filler, flitting from one idea to another and not bothering to cohere to any logical argument This book was interesting at the beginning and highly frustrating by the end To be honest, I felt somewhat condescended to, as if the reader should blindlingly accept whatever ad hoc observations the critic makes about the film There are pages and pages on the quote I have nothing to say but I will say it anyway, which Miller treats as a black hole, swallowing up all his Miller s essays are all filler, flitting from one idea to another and not bothering to cohere to any logical argument This book was interesting at the beginning and highly frustrating by the end To be honest, I felt somewhat condescended to, as if the reader should blindlingly accept whatever ad hoc observations the critic makes about the film There are pages and pages on the quote I have nothing to say but I will say it anyway, which Miller treats as a black hole, swallowing up all his knee jerk theories Many of which are contradictory Miller s thesis, that 8 1 2 has no significant message in it s core, seems like a reasonable one to argue However this essay is so rambling and disjointed that I had difficulty understanding both the structure and the validity of his argument Not to mention that inappropriate analogies and word choice e.g Miller goes on at length of the role of the ass in the film make this a fairly unpleasant read Disappointing. ( FREE ) ☼ 8 1/2 ♀ Federico Fellini s masterpiece Otto e mezzo shocked audiences around the world when it was released inby its sheer auteurist gall The hero, a film director named Guido Anselmi, seemed to be Fellini s mirror image, and the story to reflect the making ofitself Whether attacked for self indulgence or extolled for self consciousness,became the paradigm of personal filmmaking, and numerous directors, including Martin Scorsese, Woody Allen and Bruce LaBruce, paid homage to it in their own workNow thats conceit is less shocking, DA Miller argues, we can see clearly how tentative, even timid, Fellini s ground breaking incarnation always was Guido is a perfect blank, or is trying his best to seem one By his own admission he doesn t even have an artistic or social statement to offer I have nothing to say, but I want to say it anyways deepest commitment is not to this man who is never quite all there or to his message which is lacking entirely but to its own flamboyant manner The enduring timeliness oflies, Miller suggests, in its aggressive shirking of the shame that falls on the man and the artist who fails his appointed social responsibilities