Download PDF by John Waters: Crackpot: The Obsessions of John Waters

By John Waters

ISBN-10: 0743246276

ISBN-13: 9780743246279

Crackpot, initially published in 1986, is John Waters' brilliantly interesting litany of strange and fascinationg humans, locations and issues. From Baltimore to la, from William citadel to Pia Zadora, from the National Enquirer to Ronald Reagan's colon, Waters explores the depths of our tradition. And he dispenses helpful suggestion alongside the way in which: how to not make a film, the best way to turn into well-known (read: infamous), and naturally, tips to so much successfully surprise and make our nation's public snort even as. Loaded with bonus beneficial properties, this new designated variation is sure to depart you absolutely psychological.

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Example text

As we will see in Chapter 2, a whole variety of urban planning ideas take this as their premise, and devise methods of redistributing the urban population across the countryside, where they might live in peace. These two films, then, represent two very different takes on the immeuble and in their respective expositions give rise to differing analyses of the social potential of the Haussmannian apartment block. Delicatessen’s use of mise-en-scène has parallels with each of the earlier films, so that it is alive to the alienating aspects of life in the immeuble as well as the potential for more congenial interactions between tenants.

This touches on a broader theme of this book that will become more explicit later on, particularly in relation to the way in which class is distributed in urban conditions. The answer that I am proposing to the question of architectural determinism is that social being is not determined by architecture but that the way in which it distributes itself therein will reveal the patterns of underlying schisms in society. The social realities that are revealed need not be the grand ideological struggles – as in the case of the resistance versus the occupation – but on the contrary can often be quite banal.

In Renoir’s film, the semi-public spaces of the building (a set built in the courtyard of the Billancourt studio (Bazin 1974: 45) and the bustling mixture of domesticity and commerce provide a convivial atmosphere and ultimately the template for a workers’ cooperative in the publishing house upstairs. Set in the Marais when it was still a working-class area (and long before its extensive renovation in the 1960s), the film has been seen as a reflection of the ‘vertical relations of community and kinship characteristic of the Parisian tenement’ (Reader 2000: 289).

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