Michael Joshua Rowin
MICHAEL JOSHUA ROWIN has written for Film Comment, among other publications.
An old chestnut—no less true for being old, nor a chestnut—has it that an effective political cinema cannot merely represent radical political movements, issues, or events, but must render them through forms that are themselves radically political.
As usual for a Lars von Trier film, Dogvilles release has met with both denunciations and panegyric.
Recently watching the mindless masterpiece Speedin which, famously, a bus must stay above 55 miles an hour or else get blown up by a deranged Dennis HopperI became fascinated with how its creators perfectly situated the action in Los Angeles, with its labyrinthine freeways floating almost detached from the city center.
Existing in that obscure space between the didactic, leftist cinema of Godard and the time-based cinema of Warhol, and often lost among better-known legends of the avant-garde stands Yvonne Rainer.