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   Jon Worth (jon@gruene.social)'s status on Friday, 13-Dec-2024 06:18:23 JST Jon Worth

   Now the state railway sock puppet on LinkedIn, to me:

   “I think that you systematically overestimate the difficulties by travelling by train and underestimate the complexity and total price for an airtrip.”

   I’m so totally done with people in this damned industry.

   My social media, my inbox full of people struggling with rail booking. But ah no. No problem. I’m actually underestimating the complexity of air trips.

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   人民折學家 the people's navel-gazer (flowrot@ni.hil.ist)'s status on Monday, 07-Oct-2024 07:59:17 JST 人民折學家 the people's navel-gazer

   in reply to

   @abolisyonista Something I've learned while academically and independently studying film and screenwriting is that movies, especially Hollywood movies, are a commodity and can't have their production separated from the capitalism that makes them (as well as the imperialism in the case of Hollywood—a student filmmaker once mentioned in a class on film criticism that Hollywood and the U.S. military are close bedfellows). Funding sources aside there is even a narrative formula that all Hollywood movies have to follow that structurally forces your story to follow a standard Western progression—you must have a main character, your character must be an individual, and the story must end with them transforming into the opposite of their original selves to fulfill their goal or fail to achieve their goal and transform their desires into the goal's opposite. There is very little room for communist maneuvers if you wish to stay in the industry.

   My suspicion is that scripts with any actual revolutionary politics would never be produced at least in mainstream cinema because movies only get produced of they're profitable. As 東默農 cynically writes in 週末快炒店，"the purpose of screenwriting is not to satisfy other people's dreams, and not your own"—namely the dreams of your funders. One of my film criticism professors lauded indie films for being the primary bastion of resistance to this, but even that I am skeptical of, because people who have the capital to make cinema independently may also be bourgeoisie. And you and I both are also equally critical of communist films made under so-called communist states. So much to lament!