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"Relationships between modern cinema, and the musings of Foucault"

Just kidding!

I fear that I cannot reply to such staggering and obvious brilliance as contained within your previous post.

As a defence, I can only suggest that the meanings, subtexts and long-rippling effects from, what is considered by many to be, the best example of modern cinema-as political experiment- "Hackers", could eventually seek to disprove the current theory of "Net movies are the 90's Skateboard movies" that prevails.

However, even this monumental comment on the current sociological trend of glorifying sci-fi, is a humble footnote to your examples.

I bow to you sir.

Hmmmmmmmmmmmmmmmm, a debate of unquestionable girth.

Consider the following section of post-modern prose before you continue to theorise:

"And then?"

"No and then"

"And then?"

"NO AND THEN!"

A truly masterful piece of literary genius. Such a poniard of expression must surely be ranked equally with the verbal delights of 'Hot shots: part deux' and the truly magnificent 'Lawnmower man 2: beyond cyberspace'

*chortles at own brilliance*

"Showgirls"

Interesting you should mention this example of the Auteur theory.

If one examines the tradition of such examples, it becomes apparent that the effects of such socio-political statements can only serve to further expand such classic influence on the average viewer.

Intriguing suggestion, I will take this under consideration.
As for the age old debate on "Subtext Vs Immediate Plot", I find that this can be settled once and for all by studying the long-reaching and reverberating effects of such subversive material as "Godzilla" and "Superman 2".

Yep, I think??

Intriguing synopsis of a rather challenging issue there.

Perhaps we could meet for crumpets at some point to discuss the clear rolling impact of your statement on the soci-linguistic arguments surrounding 'Babe: pig in the city'

A fascinating topic, I'm sure you'll agree - you yourself being contributor to the 'showgirls' school of thought.

Of course.

*srokes beard and lights pipe*

I feel that the clever use of surrealism in "En Chen Andaloo" can only be matched by the almost sublime structure to be found in the likes of modern twists such as Spy Hard and Rugrats in Paris.

If one takes these as seperate entities, it would be hard to find the correlation, however, once viewed side by side, it is embarassingly obvious how one affects the others.

Well it goes without saying.

Naturally.

And,extending your theory further, if one examines the Odessa Steps sequence from Battleship Potemkin, and the masterful use of Eisenstein's mis-en-scene techniques, one can apply this strategy to such modern classics as "Dude, Where's my Car" and, obviously "Little Nicky"

The similarities between all types of movie would suggest that the forefathers of cinema technique are as valid now as they were then.

Interesting theory you raised Mr Funk

Actually to be serious, Bakhtin did really lead the way for new, and often controversial films like Stuart Little and The Tigger movie.

A cultural shift only surpassed by the influence of Baudrillard on Beverly Hills Cop part 2.

Part one was of course the primer for such a structural transformation of the bourgeois public spehere.

But then you already knew that.

I feel that early German Expressionism has a massive effect on the movies of Stallone.

Compare The Cabinet of Dr Caligari and Over The Top.

Quite scary really.