Does this series hate America?


It seems like even though parts of this are very praising of American cinema, Buster Keaton, Howard Hawks.... for the most part it's just a fifteen part series saying American movies aren't art? or that Hollywood ripped the world off? I'm ending every sentence with a question mark? Like his valley girl narration?

I guess I knew their would be trouble within in the first fifteen minutes he kind of rips Casablanca, possibly the greatest movie of all time....

Am I the only one who feels like Mark Cousins hates America?

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Well, if it's any consolation he doesn't even think Australia and New Zealand are worth talking about.


"Security - release the badgers."

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No, I don't think that's a fair assessment. I think what he does is put America on equal artistic ground with every other country that has a thriving cinematic culture. We're so used to being the center of everything that it's a bit jarring to be considered "just another country." I thought it made the series much more interesting, personally.

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America is the country that takes perfectly good films and remakes them, just to correct the errors and make them right you understand.

Only those with no valid argument pick holes in people's spelling and grammar.

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I guess I knew their would be trouble within in the first fifteen minutes he kind of rips Casablanca, possibly the greatest movie of all time....

This seems a common misunderstanding in many IMDb reviews and posts. But no, Cousins does not rip Casablanca - he merely states that it's not really a classical but a romantic film, meaning its style of course.

Frankly, it's rather ridiculous how many english-speaking people are unable to distinguish between the meanings of "classic" and "classical"...

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Frankly, it's rather ridiculous how many english-speaking people are unable to distinguish between the meanings of "classic" and "classical"...


Except Cousins making exactly that mistake by insisting Casablanca isn't a classic because it doesn't adopt a classical style. He's arguing a semantic point that doesn't actually hold up to analysis, because when people call Casablanca a classic they're not referring to its construction but its status. It is sadly symptomatic of how often Cousins ties himself up in irrelevant and unsupportable arguments that require twisting language or facts like a pretzel, rather like an ill-informed college student self-importantly trying to show off how much smarter he is than his tutor but just shooting himself in the foot.


"Security - release the badgers."

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Except Cousins making exactly that mistake by insisting Casablanca isn't a classic because it doesn't adopt a classical style. He's arguing a semantic point that doesn't actually hold up to analysis, because when people call Casablanca a classic they're not referring to its construction but its status.

That's exactly the common misunderstanding I was referring to. Cousins did not claim Casablanca isn't a classic, he merely stated that it's not a classical film but a romantic one.

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Except, for all his semantic masturbation, that's not the association he makes in the quote:

“Full of yearning, story and stardom... because Casablanca’s a Hollywood classic, Ingrid Bergman’s lit like a movie star, highlights in her eyes... it’s all filmed on a studio set. But films like Casablanca are too romantic to be classical in the true sense.”

He's making a clear association with classic and classical, even using the phrase 'true sense.' His misuse of the language is further compounded in interviews he gave about the quote, when he said "classical doesn’t mean beloved. It means balanced." The definition of classical is a lot more complex than that: it's like picking one ingredient off the back of a cereal packet to back the claim that it's healthy natural food. He also ignores the widely accepted definition of 'classical Hollywood cinema' as outlined by David Bordwell and others, which Casablanca does embody, because to Cousins words mean only what he wants them to mean.


"Security - release the badgers."

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I still think you are reading too much into it. Cousins clearly admits Casablanca is what's generally described as a classic - when most trigger-happy naysayers in these forums claimed he doesn't. They didn't see the distinction between classic and classical, and got unnecessarily alarmed.

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Here's what turned me off: Cousins' repeated insistence that anything "good" or "innovative" about American cinema and its technique is merely derivative of European and Japanese cinema.

I love watching foreign pictures and I have a deep appreciation for their narrative styles and technique; but Cousins lost me when he kept claiming that American filmmaking is indebted in every respect to the techniques which were developed elsewhere.

He conveniently leaves out the fact that "deritivity" is a mutual thing: we copy each other!

In any case, the American filmmaking pioneers of the early 20th Century developed much of their techniques independently and through trial and error, far more than they did by mimicking everything that was going on in the industry overseas. It doesn't take a rocket scientist to be able to realize and acknowledge what was special and unique about early Hollywood directors like Griffith, DeMille, Chaplin and many others; but Cousins is blind to these facts and seems to have a need to knock Americans off what are his perceived "high horses" of theirs; epic fail in that regard.


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