It's not the subject that's cliché; it's cliché or not. But in fact, this is the way you're talking about it.
I admire photographers who can take much more ordinarily subject matter and make it transcend that ordinariness, so that it becomes something else fresh and new. It opens this doorway. I really admire people who can do that with photography.
The thing about photography is, some people surround themselves with extremely strong subject matter. And unless you're a moron, you're going to get a really strong photograph.
One teacher told me that my work belonged in the trash. That day I ran out of the classroom and ended up in the library, where there happened to be a black and white photography exhibition of Robert Rauschenberg's photographs of the streets of New York. The subject of his photos were exactly what I was painting about.
I think we need to think about Islamic tradition as a way of asking questions that cut across (and transgress) the assumptions of a purely secular world in which we already know how things stand for individual subjects as well as for societies.
For me, poetry is a way of thinking, and like many poets, I'm driven by the idea of trying to find the impossible, perfect words: the words that will hold my subject.
One absolutely crucial change is that feminist film theory is today an academic subject to be studied and taught. "Visual Pleasure and Narrative Cinema" was a political intervention, primarily influenced by the Women's Liberation Movement and, in my specific case, a Women's Liberation study group, in which we read Freud and realised the usefulness of psychoanalytic theory for a feminist project.
They are, in a sense, two sides of the same coin: women are, on the one hand, subjects of an extremely real and abject (as Julia Kristeva put it) body and denigrated sexuality; on the other, the proliferation of images, and their digitalisation produces more and more abstract and air-brushed representations of impossible female bodies. Both indicate, certainly, a "lack of progress." But, one hopes, discussions and resistance are emerging in response.
The 16th Amendment corroded the American concept of natural rights; ultimately reduced the American citizen to a status of subject, so much so that he is not aware of it; enhanced Executive power to the point of reducing Congress to innocuity; and enabled the central government to bribe the states, once independent units, into subservience. No kingship in the history of the world ever exercised more power than our Presidency, or had more of the people's wealth at its disposal.
Rulers exist entirely through the persons of others. Their goal is in their subjects, in the activity of enslaving. They are as dependent as the beggar, the social worker and the bandit. The form of dependence does not matter.
A lot of the challenge and the reason for the success of those one-shot photographers is that their pictures almost have to be subject proof. Because you usually only have a few minutes with the person. You never know who's going to walk into the room - whether they're going to be friendly, grumpy, sick of photographers, or between meetings.
I've always been a writer who tackles complex themes and risky subjects - I write about the things that people think but never say aloud.
I thought it was a huge conflict of interest to be the director and the subject - it's very sketchy territory to be in. I've seen what's happened to other directors who have done that.
But one thing is certain: the commandments have not changed. Let there be no mistake about that. Right is still right. Wrong is still wrong, no matter how cleverly cloaked in respectability or political correctness. We believe in chastity before marriage and fidelity ever after. That standard is an absolute standard of truth. It is neither subject to public opinion polls nor dependent upon situation or circumstance. There is no need to debate it or other gospel standards.
Sound continues to be a mystery to me, in that one could create infinite songs focusing on the same subject, but depending on the melody, instrument choice, minor or major key, time signature, etc., each song could elicit an entirely different response.
Whether I sign a bill or not, is generally an expression of my personal view on the subject. It's not an interpretation of an existing law.
What I love about drafts is the experimental nature of them. The draft is what you know about writing a poem running up against what you don't know about the subject. If you're lucky, you get to surprise yourself.
When you're at drama school you spend so much time working on amazing texts and analyzing them, digging into them, and figuring out why it happens, why you are being asked to say what you're saying, and what the words mean. But then when you start working, most of the stuff would just fall apart if you subject it to that kind of scrutiny.
The first real thing was Divine as Jackie Kennedy [in Eat Your Makeup]. His mother found the bloody Jackie Kennedy outfit in the boot of his car and said, 'What is this?" and Divine said, "I am Jackie Kennedy!" His mother just changed the subject; she didn't know what to say.
I'm a pragmatic man. I'll veer on the dangerous side, because I love dangerous subjects, but I won't shoot a show in the foot.
I write scripts by myself. It's not for everybody. It's someone's personal work. I need to be in love with the subject.
In order to write about the machine you have to know it, to live with it, to love it (or hate it). I think that true writing could be done on industrial subjects by people who work in industry, who are firmly linked with it. But ... and here is the opposite 'but', the technology of literary craftsmanship is itself a very fine and complex matter. Qualified specialists from industry prove themselves dilettantes in the field of literature. The needed synthesis is not yet in sight.
'Dignity of Labour' is a subject to be learnt from Australia!
Writing about someone well known removes that obligation of defending it as a subject, but it also means that some of the surprise and freshness is already gone. It's so different - in some ways much harder for me.
I love convincing a reader that an unusual or seemingly ordinary subject is worth his or her time - it's part of the fun for me as a writer.
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