"So our films had a lot more to them than entertainment value, and I'm glad that a lot of people recognize that now. People realize now the value of them as educational"
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Harryhausen is quietly pushing back against the polite condescension that follows “genre” work around like a shadow. Stop-motion creatures, mythic adventures, Saturday-matinee thrills: for decades, that kind of cinema was treated as disposable sugar, not serious art. His line “had a lot more to them than entertainment value” is a reclamation of authorship. He’s asserting that spectacle isn’t the opposite of meaning; it’s a delivery system for it.
The key move is temporal: “I’m glad that a lot of people recognize that now.” That “now” carries a sting. It implies an earlier critical climate that enjoyed the monsters but refused to grant them cultural legitimacy. Harryhausen doesn’t sound bitter, but the satisfaction reads like vindication after a long delay - the moment when a craftsperson is finally allowed to be an educator. He’s also carefully choosing “educational” rather than “political” or “artistic,” a word that sidesteps taste wars. Education is harder to sneer at: it frames his films as gateways to mythology, natural history, anatomy, even the basics of cinematic illusion. The monsters teach you how to look.
Context matters because Harryhausen’s influence has been so publicly testified to by later directors and VFX artists. Once the industry began mythologizing its own technical lineage - making behind-the-scenes process part of the product - his work became legible as more than a trick. The subtext is less “please respect me” than “you already learned from me; you just didn’t call it learning.”
The key move is temporal: “I’m glad that a lot of people recognize that now.” That “now” carries a sting. It implies an earlier critical climate that enjoyed the monsters but refused to grant them cultural legitimacy. Harryhausen doesn’t sound bitter, but the satisfaction reads like vindication after a long delay - the moment when a craftsperson is finally allowed to be an educator. He’s also carefully choosing “educational” rather than “political” or “artistic,” a word that sidesteps taste wars. Education is harder to sneer at: it frames his films as gateways to mythology, natural history, anatomy, even the basics of cinematic illusion. The monsters teach you how to look.
Context matters because Harryhausen’s influence has been so publicly testified to by later directors and VFX artists. Once the industry began mythologizing its own technical lineage - making behind-the-scenes process part of the product - his work became legible as more than a trick. The subtext is less “please respect me” than “you already learned from me; you just didn’t call it learning.”
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| Topic | Movie |
|---|---|
| Source | Help us find the source |
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