invisible films and the critic

..."in the times of bigness, spectaculars, one hundred million movie productions, i want to speak for the small, invisible acts of human spirit, so subtle, so small, that they die when brought out under the clean lights. i want to celebrate the small forms of cinema, the lyrical form, the poem, the watercolor, etude, sketch, portrait, arabesque, and bagatelle, and little 8mm songs. in the times when everybody wants to succeed and sell, i want to celebrate those who embrace social and daily tailor to pursue the invisible, the personal things that bring no money and no bread and make no contemporary history, art history or any other history. i am for art which we do for each other, as friends.
...the real history of cinema is invisible history. history of friends getting together, doing the thing they love. for us, the cinema is
beginning with every new buzz of the projector, with every new buzz of our cameras. with every new buzz of our cameras, our hearts jump forward..."

..."perhaps it is the words “critic” and “criticize” that mislead us so often. whoever put it into our heads that a critic should “criticize”? i have come to a conclusion: the evil and the ugliness will take care of themselves; it is the beautiful and good that need our care. it is easier to criticize than to care; why choose the easy way? if the critic has any function at all, it is to look for something good and beautiful around him, something that can help man to grow from inside; to try to bring it to the attention of others, explain it, interpret it — and not to clutch at some little pieces of dirt, or mistakes, or imperfections. as if those little mistakes and imperfections really matter in the end..."

jonas mekas

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