Thursday, October 27, 2016

The Life and Death of Colonel Blimp (UK: Michael Powell and Emeric Pressburger, 1943)

The Life and Death of Colonel Blimp (UK: Michael Powell and Emeric Pressburger, 1943: 163 mins)

Chapman, James. "The Life and Death of Colonel Blimp Reconsidered." The Powell & Pressburger Pages (Originally published in The Historical Journal of Film, Radio and Television 15.1 March 1995: 19-55)

Christie, Ian. "Seventy Years Ago... The Return of The Life and Death of Colonel Blimp." Senses of Cinema #68 (September 2013)

Danks, Adrian. "Great Directors: Michael Powell & Emeric Pressburger." Senses of Cinema (May 2002)

Ebert, Roger. "Great Movie: The Life and Death of Colonel Blimp." Chicago Sun-Times (October 27, 2002)

Haskell, Molly. "The Life and Death of Colonel Blimp." Current (March 20, 2013)

Haver, Ronald. "The Life and Death of Colonel Blimp." Current (October 21, 2002)

The Life and Death of Colonel Blimp Critics Round Up (Ongoing Archive)

Marsh, Calum. "Can Humor Be Weaponized? We speak of satire as ‘venomous’ and ‘acerbic,’ but it isn’t the damage it deals that makes it significant." Keyframe (April 10, 2016)

"On the Set of The Life and Death of Colonel Blimp." Current (March 20, 2013)

Scorsese, Martin. "On Restoring The Life and Death of Colonel Blimp." Current (March 18, 2013)

Smith, Imogen Sara. "The Music of Words: Storytelling in Two Powell & Pressburger Films." Bright Lights Film Journal #79 (February 2013)

Tracy, Andrew. "Up and Away: On The Life and Death of Colonel Blimp." Reverse Shot (July 15, 2006)

The Life and Death of Colonel Blimp (trailer) from Cinefamily on Vimeo.

Wednesday, October 26, 2016

Pirates of the Caribbean: The Curse of the Black Pearl (USA: Gore Verbinski, 2003)

Pirates of the Caribbean: The Curse of the Black Pearl (USA: Gore Verbinski, 2003: 143 mins)

High, Michael D. 
"Pirates without Piracy: Criminality, Rebellion, and Anarcho-Libertarianism in the Pirate Film." Jump Cut #56 (Winter 2014/2015)

Kuersten, Erich. "Quilty Makes This World: 12 Tricksters (CinemArchetype #1)." Acidemic (January 23, 2012)

Rabin, Nathan. "Nathan Rabin vs. The IMDb Top 250: Pirates Of The Caribbean: The Curse Of The Black Pearl." The Dissolve (September 17, 2014)

Resources for October 26, 2016

Bailey, Thomas William Bey. "Foundations for a High-Rise: Or, cinematic on-ramps to the mind of J.G. Ballard." Keyframe (April 18, 2016)

Calautti, Katie. "Why Is the True Story of David O. Russell’s Joy Such a Mystery?" Vanity Fair (December 17, 2015)

Ehrenstein, David. "Complicity and Christine: Yes, snuff films exist—right in our news feeds." Keyframe (October 12, 2016)

Gunzburg, David. "Realistic, Like In a Movie: On Facts, Procedurals, and Memories of Murder." Photogenie (October 1, 2013)

Hudson, David. "Bob Dylan Wins the Nobel Prize." Keyframe (October 13, 2016)

Lear, Norman. "Just Another Version of You: The Life, Art and Activism of Legendary TV Producer Norman Lear." Democracy Now (October 25, 2016) ["Ninety-four-year-old legendary TV producer and longtime political activist Norman Lear has led a remarkable life. He helped revolutionize sitcom television with a string of hit shows including "All in the Family," "Sanford and Son," "The Jeffersons," "Good Times" and "Maude." In 1999, President Clinton awarded him the National Medal of Arts, saying, "Norman Lear has held up a mirror to American society and changed the way we look at it." Norman Lear is also a longtime activist, earning him a place on Richard Nixon’s enemies list and the scorn of the Christian right. His life, art and social activism is the subject of the new "American Masters" documentary, "Norman Lear: Just Another Version of You," which premieres tonight on PBS. We spoke with Norman Lear in studio last week."]

"Platform." The Movement for Black Lives (ND)

Rickford, Russell. "Managed Democracy And The Illusion Of Politics." AAIHS (October 23, 2016)

"Teaching The New Jim Crow." Teaching Tolerance (ND)

Young, Alden, "Braveheart for Black People: A Review of Birth of a Nation." AAIHS (October 25, 2016)

Tuesday, October 25, 2016

Resources for October 25, 2016

Arnade, Chris, Jim O'Grady and Kai Wright. "Race, Class, and the United States of Anxiety." On the Media (October 19, 2016)

Blyth, Mark, David Kaiser and Vanessa Williamson. "The French Sensation: Income Inequality in the United States, 1910 - 2010." Open Source (May 1, 2014) ["The hottest book everybody is talking about, that no one has read and no can get their hands on, is a giant, data-packed tome on income inequality covering three hundred years of history by the French economist Thomas Piketty. Is there a reason he’s getting the rock star treatment? Is it the symptoms that resonate (our drift into oligarchy), or is it the cure (a progressive tax on wealth)?"]

Everything Change: An Anthology of Climate Fiction  Imagination and Climate Futures Initiative ["Everything Change features twelve stories from our 2016 Climate Fiction Short Story Contest along with along with a foreword by science fiction legend and contest judge Kim Stanley Robinson and an interview with renowned climate fiction author Paolo Bacigalupi." - free to download in PDF format]

Guerard, Emma, et al. "Babe: That'll Do Comrade, That'll Do." Flixwise #24 (July 19, 2016)

"The Harder They Come." See Hear #30 (July 19, 2016) ["Perry Henzel’s 1972 film, “The Harder They Come” starring reggae superstar, Jimmy Cliff. This film is important in so many respects – it brought Jimmy Cliff to a worldwide audience, it had a brilliant soundtrack, and it was the first Jamaican feature film. Henzel declared he made it for Jamaica, but many people outside Jamaica have embraced it as it encompasses the well used movie theme of fighting back against a corrupt society in all its facets – employers, the recording industry, religion, and the law. Jimmy Cliff plays Ivan, a young naïve country man coming to Kingston hoping to make it in the music industry, but has his dreams crushed at every turn – until he decides to take matters into his own hands, for better or worse. Make no mistake - he is an anti-hero with many failings of his own. Tim, Bernie and Maurice discuss these themes as well the influence it has left on so many other films, music as politics, where the movie fits into the mood of film movement of the day, and whether you can really hold off an entire army with one six-shooter. Tim even suggests a unique ratings system for this movie."]

Harlan, Susan. "A Poem About Your University's Brand New Institute." McSweeney's (August 10, 2016)

Hurne, Mark, Cott Nye and Aaron West. "A Brighter Summer Day." Close-Up #44 (July 19, 2016) ["Among the most praised and sought-after titles in all contemporary film, this singular masterpiece of Taiwanese cinema, directed by Edward Yang, finally comes to home video in the United States. Set in the early sixties in Taiwan, A Brighter Summer Day is based on the true story of a crime that rocked the nation. A film of both sprawling scope and tender intimacy, this novelistic, patiently observed epic centers on the gradual, inexorable fall of a young teenager (Chen Chang, in his first role) from innocence to juvenile delinquency, and is set against a simmering backdrop of restless youth, rock and roll, and political turmoil."]

Mattson, Stephen. "Social Justice is a Christian Tradition - Not a Liberal Agenda." Sojourners (August 11, 2015)

Pasternack, Jesse. "Sex, Music, and Death: Why The Hunger is the Definitive David Bowie Film." A Place for Film (October 24, 2016)

Sams, Josh. "The Street Fighter Films: How to And How Not to Adapt a Video Game." Dialogic Cinephilia (October 24, 2016)

Monday, October 24, 2016

House (Japan: Nobuhiko Ôbayashi, 1977)

House (Japan: Nobuhiko Ôbayashi, 1977: 88 mins)

Axmaker, Sean. "Kinostraum: The Lucid Unreason of ERASERHEAD and HOUSE." Keyframe (May 11, 2016)

Belovarac, Brian. "Nobuhiko Obayashi’s House: Come Inside." Current (January 13, 2010)

Hurwitz, Matthew. "Hausu (1977, Nobuhiko Obayashi)." Cinemachine (May 4, 2010)

Juzwiak, Rich. "The Joy of Hausu." Four Four (January 21, 2010)

Kittle, Alex. "House [Hausu] (1977)." 366 Weird Movies #71 (November 24, 2010)

Pridham, Matthew. "The Cutest Nightmare You Ever Did See: A Review of Nobuhiko Obayashi’s Hausu." Weird Fiction Review (June 14, 2013)

Stephens, Chuck. "House: The Housemaidens." Current (October 26, 2010)

Tobias, Scott. "The New Cult Canon: House." A.V. Club (October 28, 2010)

Williams, Evan Calder. "Sunset with Chainsaw: A New Way of Reading Horror Film Politically." Film Quarterly 64.4 (Summer 2011): 28-33. [I have a copy for students]

Eraserhead (USA: David Lynch, 1977)

Eraserhead (USA: David Lynch, 1977: 89 mins)

Axmaker, Sean. "Kinostraum: The Lucid Unreason of ERASERHEAD and HOUSE." Keyframe (May 11, 2016)

Bond, Lewis. "David Lynch: The Elusive Subconscious." (Posted on Youtube: September 3, 2016)

Caldwell, Thomas. "Great Directors: David Lynch." Senses of Cinema #20 (May 2002)

Carvajal, Nelson. "Beautiful Nightmares: David Lynch's Collective Dream." (Posted on Vimeo: 2013)

Cox, Catherine S. "Eraserhead." Senses of Cinema #40 (July 2006)

Ebiri, Bilge. "David Lynch Thinks That No One Will Ever Agree on What Eraserhead is About." Vulture (September 16, 2014)

Elmes, Frederick. "On Shooting Eraserhead." Current (October 8, 2014)

Eraserhead Critics Round Up (Ongoing Archive)

Eraserhead Letterboxd (Ongoing Archive)

"Eraserhead: Who Hurt You David Lynch?" The Critical Cinephile (February 1, 2014)

Godwin, Kenneth George. "Eraserhead: An Appreciation." Cagey Films (ND)

Gonzalez, Francisco. "David Lynch's Eraserhead Explained." The Film Connosieur (November 18, 2013)

Johnson, David. "Henry's Window is the Key to Eraserhead." Welcome to Twin Peaks (November 25, 2014)

Lim, Dennis. "David Lynch's Elusive Language." The New Yorker (October 28, 2015)
Lynch, David and Chris Rodley. "I See Myself: Eraserhead." The Current (September 16, 2014)

"Scenes from the Set of Eraserhead." Current (September 15, 2014)

Sobczynski, Peter. "Defying Explanation: The Brilliance of David Lynch's Eraserhead." Roger Ebert (September 16, 2014)

Josh Sams -- "The Street Fighter Films: How to And How Not to Adapt a Video Game" (ENG 102)

The Street Fighter Films: How to And How Not to Adapt a Video Game

Adapting a videogame into a movie has always been a challenge. While some good videogame movies exist, they’re just drops in a sea of faulty adaptations that either try so hard to please the general audience that they end up disappointing the fans, or focus too much on the fans and lose the general audience. The Street Fighter series has had its share of movies with varying degrees of quality. Street Fighter: The Legend of Chun-Li(2009) has been endlessly criticized for being extremely unfaithful to its source material and having a general lack of quality that drove away casual moviegoers. On the other hand, Street Fighter: Assassins Fist(2014) has been praised not only for being true to the games, but also for being accessible to a more general audience. But how do two movies based on the same source material have such drastically different reception? Where does Assassins fist succeed where Chun-Li fails?

The first point where The Legend of Chun-li fails is in its choice of main character. No one will deny that Chun-li is one of the most recognizable characters in the Street Fighter series, but at the same time, her backstory isn’t the most compelling. It’s enough for a brief arcade mode ending yes, but nowhere near enough for a movie with an hour and a half run time. Her backstory basically boils down to a generic police drama. When Chun-Li was a child her father was kidnapped, she joins the ICPO (or Interpol) at age 18 to aid in the investigation. Eventually she learns that criminal organization called Shadaloo was directly involved with her father’s disappearance and dedicates herself to taking them down (Taylor). Adapting such a basic story into a feature length film, while not impossible, would be extremely difficult due to not having much at all to work with. There was also the challenge of trying to add something new for fans of the series so it didn’t feel like a retread of the game’s story, doing things like adding characters such as Charlie from the Street Fighter: Alpha series, touching on Chun-Li’s training with her master Gen, and changing the abilities and backstory of the main villain M.Bison. While the intent of these decisions were good, it just made the movie seem more like Capcom trying to alter the lore of the series rather than expand upon it.  The big problem with choosing this character was that her story was too basic to work with and had very little that could be added on. On top of this, the few things they do add seem to just be thrown in with no real cohesion or build up. Bison’s origin is mostly withheld throughout the whole movie, but then it’s given to us all at once in an exposition dump right before the final scene. A better way to go about this would’ve been to use a different character. If they were dead set on using a female character, then they could’ve gone with Cammy, a woman who was kidnapped by M.Bison and turned into a Bison Doll, a brainwashed soldier that fights for Shadaloo. She was able to break free and now fights for an anti-terrorism force called Delta Red. This story would’ve given a more insider perspective of Shadaloo, and having to fight other Bison Dolls would be an interesting dilemma. Of course, there was also the option of using the series’ main characters.
Assassin’s fist knew what story to adapt. Not only are Ryu and Ken the most known characters in the game, but their training with Gouken and the struggles that come from it also allow for a more interesting story.  This mainly comes from the fact that so many different stories tie into this one. The backstory of Gouken and Gouki, the development of Ryu and Ken’s bond, and the origins of Akuma are all subplots that stem from this story. These subplots are also very well implemented into the main story, everything happens very naturally. For example, Gouken doesn’t just suddenly decide to tell us why and how Gouki became Akuma, many things have to happen before he’s willing to actually do it. Ryu and Ken question the history of the techniques they’re being taught and that prompts Gouken to give them his backstory, they find a wall with previous students that underwent the same training as them with one saying “Gouki” turned around and this causes Gouken to tell them about Gouki, Ken struggles with some of the training so he tries a technique he learned from a book in a sealed off room and this causes Gouken to tell them about the dark power that consumed Gouki. The big thing here is that everything is introduced in bits rather than in one big scene in the middle of the movie that will be forgotten about when they get back to the main event. Another thing to note about the story is that it manages to stay very accurate to the source material while also allowing even long-time fans to get something new out of it simply by taking elements from multiple different places such as the Street Fighter comics, and the animated TV series and movies. The movie’s director Joey Ansah even said that even the most hardcore fans of the series would likely learn something they didn’t know from this (Ansah). But getting the story right isn’t all that goes into the good adaptation, the appearance of the characters is also extremely important.
The Legend of Chun-Li fails to accurately capture the appearance of its characters. It’s understandable that some things would get lost in the adaptation, such as Chun-Li’s oversized legs or Charlie’s ridiculous hair and the movie realizes this, but instead of making them more believable while still recognizable, it decides to make every character as different as possible. For a majority of the movie, Chun-Li doesn’t have her hair in her trademark Ox-horn style and never once does she wear any of the outfits she’s worn in any of the games. Some might say that this was done because her original outfits were too outlandish for this slightly more serious movie, but let’s think about Captain America: The First Avenger(2011) for a moment. In that movie, before Captain America gets a more updated suit, he wears something that resembles the costume he wore in the original comics. This not only gives him a reason to stay with the star spangled outfit, but it also shows that the people making the movie cared enough to acknowledge the character’s past costume while improving on it. The Legend of Chun Li could have done something similar. Have a brief scene where Chun-Li is looking for clothes to wear for her training and she comes across an outfit that resembles her costume from the Alpha series. This wouldn’t solve the problem completely, but it would’ve been nice to have something that resembled something from the games. No one expected them to get every detail right, but there are ways to make it accurate and realistic.

Assassin’s Fist realizes that the characters are designed unrealistically; this will always be the case in fighting games as a mechanical necessity. Arms, legs, feet, and hands are often oversized to make them more in line with their hitboxes. It’s something that works well in a highly stylized game but makes creating an accurate adaptation difficult. Assassin’s Fist does it’s best to make its characters more believable while keeping it accurate to the source material. This is most evident with Gouken. In the games, Gouken is more muscular than even most body builders. In the movie, he’s severely toned down, but is still extremely close to his counterpart. He looks like what Gouken would look like if he were younger and designed more realistically. Of course, appearance isn’t all that matters in regards to the characters. The crew’s knowledge of the source material is also very important.
The cast and crew’s knowledge of the games differs greatly between the two movies. While Assassin’s Fist shows a great amount of knowledge of not only the story it tells, but the Street Fighter universe as a whole, Legend of Chun-Li shows very little to no knowledge of either. Assassin’s Fist nails the relationship between Ryu and Ken, showing how their friendship turned into a friendly rivalry. Not only this, but it’s also littered with small touches like Ken’s flaming uppercut, hinting at Evil Ryu, mentioning characters like Dan, potential hints towards Balrog, references to other Capcom games, Ken giving Ryu his hairband as a memento of their training, and even a cameo by the creator of Street Fighter Yoshinori Ono that show just how dedicated the crew was to the series. There was so much dedication that their Kickstarter campaign got the attention of two backers that gave them the over $670000 they still needed to meet their goal, and even got the attention of Capcom themselves (Ansah).  This knowledge and dedication to the series is the main reason this movie succeeds as an adaptation.
The Legend of Chun-Li on the other hand, shows a lack of knowledge of the series. As mentioned before, the characters hardly resemble their video game counter parts, but it goes beyond that. How the characters act and fight, the most important part of a movie like this, is changed beyond recognition as well. For example, Balrog in the games is known for being a boxer, but the way he fights makes him seem more like a grappler. Because of this, combined with the drastic change in design, He shares practically nothing with Balrog other than his name. Vega, while fairly accurate in terms of design, is still very misunderstood by his actor. When talking to IGN about his character, Taboo talked about how Vega was a mysterious character that people didn’t know much about(IGN, 2:05). This is despite the fact that Vega has always had an established backstory and personality. He’s vain, arrogant, and obsessed with beauty, but he’s never been seen or portrayed as mysterious. But what about Chun-Li herself? Surely they’d understand their main character right? Well, no. In a behind the scenes interview, Kristin Kreurk, who plays Chun-Li, said that her fighting style was about power and gracefulness(Bartkowiak). While gracefulness does play big part, Chun-Li has never been about power. She’s about speed and landing a lot of weak hits that add up over time. There’s even an extreme misunderstanding of the main villain’s motivations and methods. M.Bison has always been a dictator that uses brute force to get his way. He’ll send his henchmen if he can, but has no problem taking matters into his own hands. He’s evil and he’s proud of it. However, in an interview with Fox All Access, Neil McDonough who plays Bison said, “He never thinks he’s doing anything evil, he just has goals he’s trying to achieve.(Fox All Access,00:58).” Taking all of this into account, the movie winds up feeling more like a cop drama with a few Street Fighter names stuck on it.
Overall, Assassin’s fist proves that when done right video game adaptations can appeal to both fans of the source material and casual moviegoers. In addition to this, many more companies are allowing their games to be made into movies. Warcraft, Ratchet & Clank, and the upcoming Assassin’s Creed, and Sly Cooper movies show how much more accepting to the idea of video game movies. Even Nintendo, who is known for having an extremely tight hold on their IPs, has allowed Legendary Pictures to start production on a live action Pokémon movie with the writers from movies like Guardians of the Galaxy.  I believe this is important because, as someone who enjoys video games, I want to see these kinds of movies succeed. I also think it can be a good way to tell the stories of these games to a new audience by eliminating the barrier of execution. I strongly believe that video game movies can succeed given the right crew and a good amount of passion for the project.

Works Cited
Ansah, Joey. “’Street Fighter: Assassin’s Fist’ Kickstarter Campaign” KickStarter (April 7, 2013):

Captain America: The First Avenger (USA, Johnston, Joe, 2011)

 “Interview with Joey Ansah.” Making of documentary Street Fighter Assassins Fist (2014)

“Interview with Kristin Kreurk.” Becoming a Street Fighter featurette (2014)
Street Fighter: Assassin’s Fist(USA, Ansash, Joey, 2014)

Street Fighter: The Legend of Chun-Li(USA, Bartkowaik, Andrzej, 2009)

Taylor, Nicholas. “Chun-Li stopped at nothing to bring down Shadaloo to avenge her father - Latest SF5 profile details the first lady of fighting gamesEventHubs (July 23,2016):

Resources for October 24, 2016

Buder, Emily. "Moonlight: Barry Jenkins on Why the Exquisite Film Nearly Killed Him." No Film School (October 10, 2016)

Christensen, Eric, et al. "Korla." The Projection Booth (July 17, 2016) ["Incredibly skilled at the keyboard, Korla Pandit came into the houses of California housewives during the '50s with his hypnotic stare and tunes. The documentary film Korla tells the story of Pandit's life and the secret with which he lived for years. Special guests director John Turner and producer Eric Christensen talk about making the documentary. Rob St. Mary joins Mike to discuss the film, exotica music, and more."]

Cowan, Katy. "Shop Cats: Photographer captures charming felines living in Hong Kong's shops." Creative Boom (October 12, 2016)

Dahl, Nel. "The Handmaiden by Gaslight: Park Chan-wook’s gothic female-vengeance drama owes a debt to George Cukor." Keyframe (October 19, 2016)

Devens, Arik and Krista Mrgan. "An Autumn Afternoon." Cinema Gadfly #23 (July 18, 2016)

Kalven, Jamie and Shannon Spalding. "Chicago Cops Who Broke 'Code of Silence' to Report Police Drug Gang Face Deadly Retaliation." Democracy Now (October 21, 2016)

Kingra, Ravinder. "The Greatest of All Food Films: That Would be Tampopo." Keyframe (October 20, 2016)

Koresky, Michael, Violet Lucca and Farran Smith Nehme. "Merchant Ivory and Howard's End." Film Comment (July 19, 2016) ["Though associated with heritage films set in Britain’s imperial past, producer Ismail Merchant, director James Ivory, and screenwriter Ruth Prawer Jhabvala have collaborated on a variety of masterfully constructed literary adaptations since the early 1960s. Perhaps the pinnacle of their collaboration is Howards End, their 1992 film based on the E. M. Forster novel about class and inheritance set in Edwardian England."]

Sarmiento, José. "Zombie’s World: Rob Zombie takes real pleasure in his craft. Can we?" Keyframe (October 19, 2016)

Saturday, October 22, 2016

Audition (Japan: Takashi Miike, 1999)

Audition (Japan: Takashi Miike, 1999: 115 mins)

Audition Critics Round Up (Ongoing Archive)

Bender, Philip J. "Sociological Aspects of Takashi Miike's Audition." Silver Screen Sessions (May 28, 2013)

Frazer, Bryant. "Audition: Calm Before the Storm." Deep Focus (ND)

Hyland, Robert. "A Politics of Excess: Violence and Violation in Miike Takashi’s Audition" Horror to the Extreme: Changing Boundaries in Asian Cinema. ed. Jinhee Choi & Mitsuyo Wada-Marciano. Hong Kong University, 2009: 15-37.

McGoff, Jessica. "Is Takashi Miike’s AUDITION Feminist or Exploitative?" Keyframe (May 9, 2016)

Morris, Gary. "Gore Galore: Takashi Miike's Audition." Bright Lights Film Journal (October 1, 2001)

Prewitt, Zach. "The Best Horror Cinema of the 21st Cinema." (Posted on Vimeo: October 2016)

Rivas, T.J. "The 'Dream Sequence' in Audition." FLM 110 (Westminster University: 2010)

Sato, Kuriko and Tom Mes. "Takashi Miike Interview." Midnight Eye (May 1, 2001)

Serpytyte, Agne. "Audition." Asian Cinema Blog (September 24, 2014)

Vitale, Christopher. "The Neo-Phallic Mother, Capitalism, and Takashi Miike’s Audition." Networkologies (January 30, 2010)

Wada-Marciano, Mitsuyo. "J-horror: New Media’s Impact on Contemporary Japanese Horror Cinema." Horror to the Extreme: Changing Boundaries in Asian Cinema. ed. Jinhee Choi & Mitsuyo Wada-Marciano. Hong Kong University, 2009: 15-37.

Wednesday, October 19, 2016

Resources for October 19, 2016

Bateson, James. "Object Anyway." More Perfect (July 16, 2016) ["At the trial of James Batson in 1982, the prosecution eliminated all the black jurors from the jury pool. Batson objected, setting off a complicated discussion about jury selection that would make its way all the way up to the Supreme Court. On this episode of More Perfect, the Supreme Court ruling that was supposed to prevent race-based jury selection, but may have only made the problem worse."]
Callow, Simon. "Orson Welles." The Cinema Show (July 15, 2016) [Newspaper magnate Charles Foster Kane and respected police captain Hank Quinlan, both were men tempted by darkness and both were played by Orson Welles at opposite ends of his career. Actor, writer and director Simon Callow joins Ben Rylan for an extended interview in which they unpick the many myths surrounding one of cinema’s greatest talents.]

Dargis, Manohla. "Beyond Bullets and Berets, Life in Wartime." The New York Times (October 22, 2010)

Hegedus, Chris and D.A. Pennebaker. "Unlocking the Cage." Film School (July 12, 2016) ["The latest documentary from the renowned filmmaking team of Chris Hegedus and D. A. Pennebaker (The War Room), Unlocking the Cage follows trailblazing animal rights lawyer Steven Wise in his challenge to break down the legal wall that separates animals from humans. ... Given that the Supreme Court has ruled that corporations are people, why not chimps? Attorney Steven Wise and his legal team, the Nonhuman Rights Project, are making history by filing the first lawsuits that seek to transform an animal from a “thing” with no rights to a “person” with legal protections. Supported by affidavits from primatologists around the world, Wise maintains that, based on scientific evidence, cognitively complex animals such as chimpanzees, whales, dolphins and elephants have the capacity for limited personhood rights that would protect them from abuse. The filmmakers capture Wise’s progress: from the halls of academia to animal sanctuaries and zoos, and finally into the courtrooms where he makes a compelling case on behalf of four captive chimpanzees in New York State. Unlocking the Cage captures a monumental shift in our culture, as the public and judicial system show increasing receptiveness to Wise’s impassioned arguments. It is a provocative and intimate look at a lawsuit that could forever transform our legal system, and one man’s lifelong quest to protect “nonhuman” animals."]

"High-Rise, Demolition, Mustang, Queen of Earth." AB Film Review (July 18, 2016)

Ivins, Laura. "Collaged Gluttony in Vera Chytilová’s Daisies." A Place for Film (October 13, 2016)

Johnson, Mackenzie. "What Makes David O. Russell so David O. Russell." Film Stage (October 17, 2016)

Perper, Emily. "Present Day Witchcraft: Seven Stories About Witches." Longreads (October 17, 2016)

Scott, A.O. "Youthful Recklessness Finds Adventure on the Road in American Honey." The New York Times (September 29, 2016)

Stachiw, Chris and Sean Liang. "Rosencrantz and Guilderstern are Dead." Kulturecast (July 15, 2016)

Zinn, Howard. Audio version of Zinn reading his Introduction to A People's History of the United States, 1492 - the Present.  (Posted on Soundcloud: 2015) ["Since its original landmark publication in 1980, Howard Zinn’s A People’s History of the United States has been chronicling American history from the bottom up, throwing out the official version of history taught in schools–with its emphasis on great men in high places–to focus on the street, the home, and the workplace."]

Monday, October 17, 2016

The Revenant (USA: Alejandro González Iñárritu, 2015)

The Revenant (USA:  Alejandro González Iñárritu, 2015: 156 mins)

Barber, Nicholas. "How Good is the Revenant." BBC (January 14, 2016)

Brody, Richard. "The Suffocating Solemnity of The Revenant.” The New Yorker (January 14, 2016)

Carvajal, Nelson. "The Leonardo DiCapriOlympics: Our most athletic Oscar hopeful has spent his career going for the gold." Keyframe (January 27, 2016)

Di Rosso, Jason. "What The Revenant Says About 21st Century Cinema." The Final Cut (January 8, 2016)

Efendi, Vugar. "Iñárritu's Visual Poetry." (Posted on Vimeo: May 5, 2016)

Fernandez, Carlos Rivera. "The Revenant: Metaphysical Mastery." (Posted on Vimeo: May 2016)

Greydanus, Stephen D. "The Revenant Calls for a Criticial Christian Response." Crux (April 30, 2016)

"Hugh Glass: The Truth Behind the Revenant Legend." History Net (June 12, 2006)

Lee, Benjamin. "Man behind Leonardo DiCaprio's Revenant bear attack revealed." The Guardian (January 19, 2016)

Lee, Kevin B. "Video Evidence: Oscar 2016, Best Actor." Keyframe (January 19, 2016)

---. "Video Evidence: Oscar 2016, Best Cinematography." Keyframe (February 3, 2016)

---. "Video Evidence: Oscar 2016, Best Director." Keyframe (February 4, 2016)

---. "Video Evidence: Oscar 2016, Best Supporting Actor." Keyframe (January 26, 2016)

Orr, Christopher. "The Revenant: Beauty and Brutality in Equal Measure." The Atlantic (January 8, 2016)

The Revenant Critics Round Up (Ongoing Archive)

"The Revenant, Top 3 Best Shot Films of 2015." In Session Film (January 10, 2016)

Schmidlin, Charlie. "Interview: Cinematographer Emmanuel Lubezki Talks ‘The Revenant’, Working With Terrence Malick, Muting The Ego & Much More." The Playlist (February 10, 2016)

Sheedy, Matt. "The Revenant: A Film Review Essay (Sort of)." Religion Bulletin (February 19, 2016)

Straker, Damien. "The Revenant - Film Review/Analysis." Impulse Gamer (January 13, 2016)

Tallerico, Brian. "The Revenant." Roger Ebert (December 21, 2015)

Thomas, Leon. "An Analysis of The Revenant." (Posted on Youtube: July 14, 2016)

Williams, Tony. "Stillness in the Revenant." (Posted on Vimeo: April 2016)

The Revenant by Tarkovsky from Petrick on Vimeo.