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Joel Mayward

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Everything posted by Joel Mayward

  1. I guess I somewhat understand the rationale of moving films into a higher position, but that dramatically affects the final results. To keep with the Dardennes example, if The Kid with a Bike is voted as the single Dardenne pick, it jumps from #31 to #7? Or Cleo from 5 to 7 moves from #83 to #33? Or Red Beard from #86 to #10? This seems like it would negate/ignore how we voted for any of these films originally. Edit: Rob made similar points above; we must have been writing/posting at the same time. I'm assuming that if the 1-film-per-director list is chosen, then we'd be voting on the 18 pairs to decide which film stays...and then we'd also vote on the Top 25? Or is the Top 25 second round of voting no longer happening?
  2. Yeah, I'm just honestly finding it hard to keep track of what's happening now in this list-making process. This could be due to missing the Zoom meeting. Feel free to move my above post to whichever thread it'd be relevant in. This is helpful and clarifying, Gareth. And to be clear, I don't think we're actively practicing tokenism/virtue signaling right now (at least in this forum for this list), but I want to point out the possibility if we are not careful and aware of our language and postures. Ha!
  3. I am trying to keep up with the various threads, and trying to listen well to what's being said in various places. So, I want to put out a word of caution here, not because I see this directly happening yet, but I genuinely think it could: I would not want an "alt" list of films directed by women or people of color to end up as inadvertent tokenism or virtue signaling. If we are going to discuss questions and issues of power, the very concepts of auteurist understandings of cinema (where the director is viewed as the one in control) and canon/list-making ventures are steeped in problematic ideologies and practices of power. I think it could be unhelpful (at best—at worst it could be patronizing) to make a list of 100 films directed by women with a primary motive to show the world that A&F knows and recognizes women behind the camera. I'm not sure exactly how to parse that though, how to do this well in practice with the list we have at hand. I recognize the frustration with not having as many women directors or global cinema on the 2-films-per-director list...but then why did we vote that way? For instance, why did we vote a Woody Allen film onto the list and not an Ava DuVernay film? I guess I'm wondering just how far we're willing to go down that difficult path of addressing questions of power, representation, and social imagination.
  4. Okay, so this seems to be the breakdown: 2-films per director (we have to choose between these films): Ordet / The Passion of Joan of Arc Andrei Rublev / Stalker A Hidden Life / Tree of Life The Son / The Kid With a Bike Ikiru / Red Beard A Man Escaped / Diary of a Country Priest The Flowers of St. Francis /Rome, Open City Faust/ Sunrise My Night at Maud's / A Tale of Winter The Seventh Seal / Through a Glass Darkly Close Up / Where is My Friend's House? The Gleaners & I / Cleo from 5 to 7 My Neighbor Totoro / Spirited Away 35 Shots of Rum / Beau Travail Late Spring / Tokyo Story Pather Panchali / The Music Room The Wrong Man / Vertigo Wings of Desire / Paris, Texas 1-film per director (we are choosing to add these films and remove the lower-ranked or chosen film from the pairs above): 7th Heaven (1927) Silent Light (2007) On the Waterfront (1954) The Phantom Carriage (1921) Schindler’s List (1993) Ushpizin (2004) The Work (2017) The Death of Mr. Lazarescu (2005) The Immigrant (2013) Selma (2014) The Red Shoes (1948) Timbuktu (2014) Places in the Heart (1984) Still Life (2006) Nazarin (1959) What Time Is It There? (2001) This is Martin Bonner (2013) Uncle Boonmee Who Can Recall His Past Lives (2010)
  5. And these would be the films essentially replacing one of the paired films above, correct? 7th Heaven (1927) Silent Light (2007) On the Waterfront (1954) The Phantom Carriage (1921) Schindler’s List (1993) Ushpizin (2004) The Work (2017) The Death of Mr. Lazarescu (2005) The Immigrant (2013) Selma (2014) The Red Shoes (1948) Timbuktu (2014) Places in the Heart (1984) Still Life (2006) Nazarin (1959) What Time Is It There? (2001) This is Martin Bonner (2013) Uncle Boonmee Who Can Recall His Past Lives (2010) I count 17 pairs and 18 films in the other list...what am I missing?
  6. Pather Panchali was the only other +1 which made the list.
  7. One observation about the 1 vs. 2 films-per-director is how auteurist/intentionalist this approach can be, as if the directorial vision matters most (or only matters) to what makes a film spiritually significant. For instance, we would lose one of the greatest on-screen performances of any gender, Maria Falconetti in Passion of Joan of Arc, with the current 1-film list. Conversely, we would also lose Beau travail, a female-directed film about masculine bodies and identities. This isn't to advocate for one list or another, only to mention that a strict auteurist view neglects other contributors (acting, editing, producing, etc.).
  8. This oral history of Mad Max: Fury Road is very interesting, and (at least for me) often quite touching.
  9. As an anecdote, I'm putting the finishing touches on the first full draft of my PhD thesis, and in my introduction, I mention that the reason I discovered the Dardenne brothers in the first place is because The Son was in the A&F Top 10. If it had been in chronological or alphabetical order and unranked, I'm not sure I would have made such a discovery. Even as I can appreciate that ranking art is a somewhat silly and vain venture (as Joshua mentioned, how do you go about comparing Ordet to Stop Making Sense?), there's also something to be said about highlighting those works have really do stand out as truly significant, to point to the good and beautiful as say, "hey, you really should seek this out." And as an aside, I agree with Andrew regarding wanting to do too many changes to this list now beyond what's been discussed prior to voting. There are certainly some disappointments, but there are also wonderful surprises and new treasures to seek out.
  10. The House is Black is #30, directed by Forough Farrokhzad.
  11. Early iterations of the list were unranked. For instance, see the 2004 list here. I'm not sure what prompted creating a ranked list in the past. By my count, there are 28 films directed by women and/or people of color—am I accurate with this? (Math is not my strong suit.) Edit/Update: A brief perusal of the 2011 list, I count 19 films directed by women and/or people of color.
  12. Perhaps this will be addressed in the Zoom meeting, but can we clarify how to go about ranking the Top 25 films? Are we rearranging the current Top 25 in the 2-film-per-director list (#1 as Ordet, #25 as Monsieur Vincent), or are we picking our personal ideal Top 25 based on all 100 films listed? And how should we submit our ballots—emailed to Ken, to Darren?
  13. I sent a proposal this time around for Sufjan Stevens' Carrie & Lowell. It's totally a long shot, as 33 1/3 has only ever published three books on albums from the 2010s, but you never know until you try.
  14. One thing seems quite clear to me: the appreciation for Lars von Trier has waned. Breaking the Waves and Dancer in the Dark are in the lower 50 films on the ranking spreadsheet. Also I realized that Wanda, The Return, and 4 Months, 3 Weeks and 2 Days are not on the list, which is a bit disappointing too. I'm curious as to which films all 24 voters have seen. I agree that there's a dominant Western view, but I wonder if it's all that much different from the 2010 and 2011 lists.
  15. Okay, some of my initial reactions to the Top 100 at this point: Films I am happy made the list: The Kid with a Bike, Secrets & Lies, Blade Runner, Stop Making Sense, Cameraperson, Embrace of the Serpent, and...Magnolia Films I am disappointed did not make the list: The Red Shoes, The Secret of Kells, Selma, Silent Light, This Is Martin Bonner, and Meshes of the Afternoon. And no David Lynch! Films I am genuinely and pleasantly surprised made the list: Do the Right Thing (and just outside the top 10!), In a Lonely Place, and Won't You Be My Neighbor? There are not many Bible films. Only two Jesus films, The Gospel According to St Matthew and The Miracle Maker (maybe you can count The Mill and the Cross). *So many* priest/clergy films. Far more than I anticipated, to be honest. I wonder why this is, and whether it differs from previous lists. Some are newer films, like First Reformed, Calvary, Of Gods and Men, and Silence. From what I can tell, none of the nominated horror or Western films made the list? Paris, Texas could be considered a Western of sorts. And not a single true comedy film apart from A Serious Man? There are some joyful films—The Gleaners and I, Stop Making Sense, Chariots of Fire—but comedy is not a genre we tend towards, it seems (unless it's dark). I haven't seen 14 of the films on the 2-per-director list, 17 on the 1-per-director list. I'm still processing how the three decades most represented are the 1980s, 1950s, and 2010s, while we have only 3 films from the 1970s. It makes me think I need to watch more films from the 1980s, a decade I typically don't give as much attention for some reason. Overall, a very fascinating list worth discussing.
  16. Popping in here to say again that I really think the optional round 2 ranking of the Top 25 could make a significant difference in what the final list looks like. I'm likely not going to make the Zoom call, but that'd be my biggest point of feedback. In many ways, the one-film-per-director list is more interesting and diverse (because there are 100 directors!), but for all the additions, I feel the loss of some of those absent (most personally, The Tree of Life and The Kid with a Bike, my two all-time favorite films). I agree with this. Is there a thread devoted to discussing the list results?
  17. True. I suppose we've just gotta do the second round voting with the Top 25 and see what happens! I'm browsing the list right now! Thanks for putting this together, Darren.
  18. Though I'm tempted, I won't reveal the rankings, but I will say that the pre- and post-voting in round 2 for the EJ Top 10 last year were *very* different, and that the #1 film by a large margin before the second round wasn't even in the top 3 in the second round. And that's just for 10 films. With 25 films, I imagine those rankings could change even more.
  19. Joel, I actually thought of you too when I read Christian's post about the music forum. I appreciate the music perspectives of everyone you listed, and learn from them all, even when my own musical tastes differed. Regarding the other points Ken raised above, I don't see too many I would strongly disagree with or even have a strong opinion on. I think it's a fair assessment of where we're at. I do wonder if inviting some folks who haven't been around here as much in recent years would be beneficial. I do think social media changed how people interacted with one another—folks ended up migrating more to Twitter, Instagram, and Facebook to discuss the arts, and sometimes to different platforms without being present on others (i.e. only Twitter, only FB, etc.). I'm not sure if that's a good or bad thing...it's just a thing—social media has changed and continues to change how we interact with one another. A&F is an alternative to those other means of connecting.
  20. Wow. I confess I'm disappointed. But I'm intrigued to see the Top 100! I do think that a second round of voting on the Top 25 would bring about some diversity into the top 10 in terms of directors. Who knows? Maybe a Dreyer film doesn't even end up in the top spot.
  21. And yet, isn't this to be somewhat expected? I know I voted 5s and 6s for many of these directors' films, and I imagine others did likewise. I totally understand and appreciate the desire to have things spread out a bit more, but we also gotta be honest about those films which feel "spiritually significant" to us collectively.
  22. Looking at the 2011 again, the top 25 has two Dreyers, two Kieślowskis (technically 13 films between Dekalog and Three Colors), two Bergmans, two Bressons, two Dardennes, and *three* Tarkovskys. And two films featuring Robert Duvall at #21 (Tender Mercies) and #22 (The Apostle). So, taking one Dreyer film now and dropping it from #2 to #26 doesn't have much of a precedent.
  23. Regarding the Dreyer rankings at #1 and #2, that's not all that different from previous lists, where they were #1 and #4 (2010) and #1 and #3 (2011). I imagine the second round of voting on the Top 25 would bring about more of a spread, as it would force voters to have to make a choice in ranking.
  24. The "at least 5 votes" minimum works for me.
  25. Nine of my 6s begin with "T"...because they're mainly "The" films.
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