Poetry in Motion: 19 Symbolic Reviews of Transformational Film

My first writing projects were essays, both personal experience and educational. I did raise a family; and once I had some alone time I busted out with some poetry , for The Muse grabbed me and would not let me go for a few years. Next, I wrote songs for several years, very similar to poetry but more fun to perform, and share with others. This was my first book length effort.

It is a good manuscript, but a bit of a hard sell.

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Though the publishing industry has great potential as far as marketing and sheer numbers of books sold, it is very cautious. Thus the nonfiction writer who is not already famous or otherwise well connected is obliged to prove that they, too, are somehow worthy of notice. Luckily we now have self publishing at our disposal, too.

So I wrote and self published a collection of symbolic interpretations of film, Poetry in Motion: They are reviews in the sense that I comment on the stuff that your normal film reviewer cares about, but I also interpret the symbolism in the movies. All of the films chosen have an essay-worthy amount of symbolism involved; there is often a bit of symbolism here and there in all art forms , of course.

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And sometimes the symbolism is incorrectly used; I review three films in my book which are cases in point. To read an example of a symbolic film review of The Illusionist , [ click here ].

In Poetry, I include a wee bit of indirect counsel, for the transformational story is indeed a form of counsel. Sell on Local Finds. Image Unavailable Image not available for Colour: Your bank will convert the payment done using credit or debit cards into EMI in working days. For payments done using credit and debit cards, to make this a No Cost EMI offer, the interest amount will be discounted from the price of your order.

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Writing - Colleen Szabo Upper Peninsula Michigan Crystal Falls MI

Write a product review. Most helpful customer reviews on Amazon. Kiarostami's film is an astoundingly wise inquiry into art, creativity, authenticity, and the nature of the archetypal masculine and feminine. Elle and James seemingly have just met as the film commences, and James is an author, and art critic. It's his philosophy concerning the nature of "real" art v. It's a theme that's meant to educate on the nature of the authentic self that's usually covered up by our conditioning by the time we reach adulthood.

Elle's son, her sister Marie, and Marie's husband who stutters her name out to express his love are examples of authenticity, as well. As the film progresses, Elle and James enter into increasing levels of intimacy, surprising the audience over and over. Of course most of us have been on this ride from meeting with attractive stranger to entangled attachment, to the frustration of expecting others to fulfill our wishes, to the suffering and arguments and finally to some measure of detachment.

In the ride Kiarostami takes us on, we get to watch the process from the observer standpoint. We get to observe the ways that masculine and feminine magnetize; attract and then repel. There is a wealth of symbolism here, from the statuary in Elle's antiques shop, to telephone conversations, to weddings and costume jewelry earrings and, indeed, a certified copy. I published a symbolic review of this film in my e book Poetry in Motion: I read a critique on this page that called this great film of Kiarostami's "pretentious" and then praised Antonioni.

As if anyone who really understands Antonioni and doesn't pigeon-hole him into "plumbing the depths of modern alienation" what does that 50 year old critics' cliche mean anyway? It means very little would not be able to pay enough very-well-paid and rewarding in spiritual terms attention to understand and appreciate the many, MANY magnificent artful subtleties of Kiarostami in this film or let's say the myriad rare and subtle achievements of Rohmer's films which "Certified Copy" most resembles in a bit darker fashion.

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I've also noticed that these kinds of artless or attention-deficit people unable to concentrate on details in a frame and wanting to be force-fed and played like a piano don't like the fertile zeitgeist of the 's very much and especially the early and most revolutionary films of Godard which they consider "amateurish. To think that a director who is a real artist de-sign scientist, one who creates new signs or de-signifies through sensuous imagery and not just dancing as a hack for money and fame and who makes a serious film SHOULD decide for us what "exactly" it's trying to say, as if real life ever does, rather than make the best presented case, with all warts intact, to let US, the other human beings viewing these representations and hopefully able to process it , decide our own interpretation of it, as in real life we always do, for better or worse, and only in false artifice the intuited and then fallaciously not-true-to-objective-reality approximated fake that does not make you see the real, the lie, copy or approximation that does not make you see the closest approximation: That film, made close to 40 years ago, is even more masterful, one of his best.

This guy is one of the very few master film-makers still left today. Most of of the overpraised others are pretenders to the throne. This drive is not truly vanquished and scarcely subdued by the fact that a regular and rigid new world is constructed as its prison from its own ephemeral products, the concepts.

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It seeks a new realm and another channel for its activity, and it finds this in myth and in art generally. This drive continually confuses the conceptual categories and cells by bringing forward new transferences, metaphors, and metonymies. It continually manifests an ardent desire to refashion the world which presents itself to waking man, so that it will be as colorful, irregular, lacking in results and coherence, charming, and eternally new as the world of dreams.