Tuesday, September 30, 2014

Resources for September 30, 2014




"Soldier’s Heart: Remembering Jacob George, Afghan War Vet Turned Peace Activist Who Took Own Life." Democracy Now (September 29, 2014)

Streitfeld, David. "Literary Lions Unite in Protest Over Amazon’s E-Book Tactics." The New York Times (September 29, 2014)

Bynes, Patricia. "Ferguson Unrest Continues as Police Accused of Incitement & Michael Brown’s Killer Remains Free." Democracy Now (September 29, 2014)


The concept of the common good is for [Noam] Chomsky is at the core of classical liberalism and of Enlightenment thinking, and one of its proponents (whose name is most often invoked to uphold contemporary capitalist practices—testament to our ignorance of his work) is Adam Smith. Like Aristotle, Smith understood that upholding the common good requires substantial intervention to assure lasting prosperity of the poor by distribution of public revenues. Common good also requires that we measure the effects of contemporary capitalist practices, including the division of labor, lest we fall prey to its nefarious effects; on this Smith said that the division of labor “will turn working people into objects as stupid and ignorant as it is possible for a human creature to be.” The antidote was government action, which should be initiated to overcome devastating market forces (113-114). -- Barsky, Robert F. The Chomsky Effect: A Radical Works Beyond the Ivory Tower. Cambridge, MA: The MIT press, 2007


"Dig deeper into Sidney Lumet’s Serpico." Cinephilia and Beyond (2014)





Bernstein, Jake. "Inside the New York Fed: Secret Recordings and a Culture Clash." Pro Publica (September 26, 2014) ["A confidential report and a fired examiner’s hidden recorder penetrate the cloistered world of Wall Street’s top regulator — and its history of deference to banks."]





Dillard, Clayton. "Jaimey Fisher's Christian Petzold." (January 12, 2014)

Murphy, J.J. "Spring Breakers." J.J. Murphy on Independent Cinema (January 1, 2014)


The Art of Editing in The Good, the Bad, and the Ugly from Max Tohline on Vimeo.




Fisher, Max. "The protests in Hong Kong, explained in 2 minutes." Vox (September 29, 2014)

Murphy, J.J. "Frances Ha." J.J. Murphy on Independent Cinema (January 8, 2014)


Monday, September 29, 2014

Spring Breakers (USA: Harmony Korine, 2012)



Spring Breakers (USA: Harmony Korine, 2012: 94 mins)

Cooper, Julia. "Radical Intimacies: Harmony Korine’s Gummo and Spring Breakers." cléo 1.1 (April 1, 2013)

de Villiers, Jacques. "When Korine Filmed Culkin:(Dis)placing the Child Star in Sunday." Senses of Cinema #69 (December 2013)

Ellis, Marc. "The Life Lessons of Spring Breakers." The New Yorker (March 18, 2013)

Murphy, J.J. "Spring Breakers." J.J. Murphy on Independent Cinema (January 1, 2014)

Prickett, Sarah Nicolle. "Introduction: No Carries, no Samanthas, no Charlottes, no Mirandas." The New Inquiry (April 27, 2013) [at the site there are a series of "responses to the film"






Resources for September 29, 2014




Hussain, Murtaza. "How the U.S. Concocted a Terror Threat to Justify Syria Strikes, and the Corporate Media Went Along." Democracy Now (September 29, 2014)




Potter, Gary. "Militarized Police and Urban Colonies." Uprooting Criminology (January 20, 2014)

Hudson, David. Bardot @ 80: “‘Ban Bardot!’ advocated the morality leagues as if she were some kind of illegal drug.” Keyframe (September 28, 2014)

Kohn, Eric. "Was Richard Linklater's 12 Year Production 'Boyhood' Worth the Wait? In a Word, Yes." Indiewire (January 20, 2014)

Wertz, Peter. "Amarcord (1973)." Wertz of Wisdom (March 10, 2014)

Kizirian, Shari. "On the Street Where He Lives: Kleber Mendonça Filho films locally, stirs globally with Neighboring Sounds." Keyframe (January 13, 2014)

Bell, Anthea and George Prochnik. "The Cultural Redemption of Stefan Zweig." The Bat Segundo Show #550 (September 17, 2014)


rapier \RAY-pee-er\

adjective
: extremely sharp or keen
EXAMPLES

The wit and keen insight found in her blog are a testament to her rapier mind.

"Mr. Brady was a veteran Republican aide and a popular figure among Washington journalists. He was equipped with a rapier wit and a buoyant charm that tended to defuse controversy even before he began working for the White House in January 1981." — Jon Thurber, The Washington Post, August 5, 2014

A rapier is a straight, two-edged sword with a narrow pointed blade, designed especially for thrusting. According to Encyclopædia Britannica, "the long rapier was beautifully balanced, excellent in attack, and superb for keeping an opponent at a distance." The word itself, which we borrowed in the 16th century, is from Middle French rapiere. The first time that rapier was used as an adjective in its figurative "cutting" sense, it described a smile: "Who can bear a rapier smile? A kiss that dooms the soul to death?" ("The Lover's Lament" by Sumner Lincoln Fairfield, 1824). The adjective these days most commonly describes wit—an association that dates to the 1850s.

Saturday, September 27, 2014

Resources for September 27, 2014

"The Purpose And The Pretence - Bombing Isis." Media Lens (September 24, 2014)

Saunders, Kevin and Stephen Torrence. "The Right to [Redacted]." Bad Philosophy #155 (September 5, 2014) ["Do we have a fundamental right to be forgotten on the Internet? Would the exercise of that right constitute censorship? How do these considerations intersect with our notions of privacy and security?"]


"Following the views of Paul Ricoeur and David Carr, I argue that our life is best understood as the product of our own narration: we account for the meaning of our lives in the terms of a story about what we have done and who we plan to be, selectively emphasizing and interpreting life's events into a unified whole, like the plot of a novel. If this view is correct, and I believe there is good reason to think it is, then the creation of a meaningful life and the imposition of meaning on the world around us is a creative process that is not dissimilar to the creation of a film. Films are realistic, I contend, not because they reflect the world the way it really is, but because they reflect the world the way we experience it - as a process of choosing among narratives we inherit from our cultural traditions and finding, or creating, our own reading of events. In short, films are realistic portrayals of how we encounter life in the one aspect that is crucial for this book: the way in which we establish meaning (5)." -- Pamerleau, William C. Existentialist Cinema. NY: Palgrave Macmillan, 2009.


Ginsburg, Sarah. "Anatomy of the Filmmaker: Varda, the Maysles, Blank and Timoner." Keyframe (September 25, 2014) ["An infographical take on the philosophies, approaches and technological habits of a few key documentary heroes."]

Drucker, Johanna. "Pixel Dust: Illusions of Innovation in Scholarly Publishing." LA Review of Books (January 16, 2014)





Bordwell, David. "How to tell a movie story: Mr. Stahr will see you now." Observations on Film Art (January 5, 2014)





Tracz, Tamara. Beau Travail Senses of Cinema (February 2007)


Merriam-Webster Word-of-the-Day:

fainéant \fay-nay-AHN\

adjective: idle and ineffectual : indolent
EXAMPLES

Deanna's parents warned her not to become fainéant during the summer; even if she didn't want to work, she should travel or volunteer somewhere.

"We go on, Beckett-like, enacting the rituals that define existence, trapped in an existential spiral, too fainéant to change, ... doomed to repeat the same mistakes and fall into the same situations." — David Krasner, A History of Modern Drama, 2011

You've probably guessed that fainéant was borrowed from French; it derives from fait-nient, which literally means "does nothing," and ultimately traces back to the verb faindre, or feindre, meaning "to feign." (The English word feign is also descended from this verb, as are faint and feint.) Fainéant first appeared in print in the early 17th century as a noun meaning "an irresponsible idler," and by 1854 it was also being used as an adjective. As its foreignness suggests, fainéant tends to be used when the context calls for a fancier or more elegant word than inactive or sluggish.

Thursday, September 25, 2014

ENG 281/282: Thinking About Films and Filmmaking




In a globalized world it is imperative that we begin to develop a broader awareness of the interconnected cultures and societies that influence and shape world events. Anyone remotely aware of the American social landscape must recognize that many of our citizens are unaware of the broader relations and connections of the world in which they live in. Many Americans tend to have a narrow understanding of world history, filtered as it is through ethnocentric American textbooks and mediatized narratives filtered through the lenses of the dominant center, which effectively ignores the realities of the margins (culturally, economically and socially). Many concerned citizens struggle to carve out meaning in the contemporary data stream and suffer the neglect of a mainstream media that limits itself to predigested dualistic positions. In this simplified media environment, vast regions of the world are presumed to be unable to speak for themselves and rarely, in the mainstream corporate media that serves as the news for a majority of American citizens, do we receive sustained and in-depth critical analysis of issues through the voices and experiences of multiple interested parties.
--Michael Benton, 2006

As a teacher, I'm not interested in just reproducing class after class of graduates who will get out, become successful, and take their obedient places in the slots that society has prepared for them. What we must do--whether we teach or write or make films--is educate a new generation to do this very modest thing: change the world. (15)
---Zinn, Howard. "Stories Hollywood Never Tells." The Sun #343 (July 2004): 12-15.

"What is history for? What do we want it to do? In 1731, an obscure Kentish schoolmaster named Richard Spencer offered some answers. Properly to ascertain his position in geographical space, he reasoned, required not a single map, but access to a global atlas, one that would allow him to ‘see what London and the adjacent parts are in the kingdom; what the kingdom is in Europe, and what Europe is in the universe’. Much the same, he thought, applied to history. ‘Particular histories represent to you, what things have happen’d to such or such a People, with all their circumstances,’ he explained: ‘But to understand the whole clearly, you must know what relation every history can have to others.’ Only when such connected and wide-angled histories were available, might one hope to ‘see all the order of time’." -- Linda Colley, "Wide-Angled" (2013)

"World Cinema’, to a French eye, is a very welcoming notion that could mean several different, even contradictory things. Among these, I will evoke three meanings:
1) Because of its predecessor World Music, which means the ethnic music re-arranged with electronic instruments to please Western consumers, World Cinema could function as a seductive formula for acculturation – after exploiting gold, diamond and every other kind of material resource, now the Western world is exploiting the immaterial patrimony of the rest of the world, including, of course, its own inner colonies.
2) In a much more objective, generous sense, World Cinema can mean ‘every kind of cinema that appears in the world’ – as Philippe Grandrieux might have put it, according to his historical TV experiment of 1987, The World is Everything That Happens (“le Monde est tout ce qui arrive”). The syntagm World Cinema helps to identify and evaluate non-dominant cinemas all over the planet. This is the opposite of the previous meaning: World Cinema as opposed to globalised cinema, with a hidden but obvious ‘s’ at the end of Cinema.
3) In a polemical and radical sense – conceptual rather than geographical – World Cinema means the cinema in relationship to the world, cinema in its ability to conceive and reshape the world, as opposed to the ‘fantasy cinema’ that forgets, often hides and sometimes betrays realities.
-- Nicole Berenz, "Political Cinema Today – The New Exigencies: For a Republic of Images." Screening the Past (September 2013)

"The most strongly enforced of all known taboos is the taboo against knowing who or what you really are behind the mask of your apparently separate, independent, and isolated egos."
-- Alan Watts, The Book on the Taboo Against Knowing Who You Are (1966)

What are “thoughts,” and what are “things”? and how are they connected?… Is there a common stuff out of which all facts are made?… Which is the most real kind of reality? What binds all things into one universe?
-- Terrence Malick's The Tree of Life (2011)

"The only performance that makes it, that makes it all the way, is the one that achieves madness."
-- Turner in the film Performance

Midway upon the journey of our life
I found myself within a forest dark,
For the straightforward path had been lost.
--Dante Alighieri, Divine Comedy: Inferno, Song 1

Anyone who believes that every individual film must present a "balanced" picture, knows nothing about either balance or pictures.
--Edward R. Murrow

Democracy is a great conversation, a community defined by the scope and substance of its discourse.
--James David Barber

"Believing is seeing and not the other way around."
--Errol Morris

"There are in fact no masses; there are only ways of seeing people as masses.”
--Raymond Williams

"Art and humanities research begins with a desire to understand the human condition."
--Masoud Yazdani

Film matters because film is us. We as a society use the filmic form to tell stories about who we are and our society - they are a record of what makes us human and what concerns us in the everyday. ... The film form, narrative and styles with which we are so familiar, from Hollywood blockbusters to the avant-garde, shape our own personal narratives. Film offers us a language to speak to each other across national, class, economic, and racial lines - film is a phenomenon that allows us to understand cultures and people.
--Lincoln Geraghty

Until lions have their own historians, histories of the hunt will glorify the hunter.
-- African proverb

"So you lie to yourself to be happy. There's nothing wrong with that. We all do it."
--Teddy in Memento (2000)

My films are intended as polemical statements against the American ‘barrel down’ cinema and its dis-empowerment of the spectator. They are an appeal for a cinema of insistent questions instead of false (because too quick) answers, for clarifying distance in place of violating closeness, for provocation and dialogue instead of consumption and consensus.
-– Michael Haneke, “Film as Catharsis”

The question isn’t “how do I show violence?” but rather “how do I show the spectator his position vis-à-vis violence and its representation?”
-– Michael Haneke

As a scholar of transnational/eco-critical cinema, it is increasingly clear to me that cinema is one of the most efficient ways to debate political and cultural issues in a global society. This is especially the case with cinema's potential to visually capture the transnational and even global scale of ecological problems, and engage with them in a way that reaches wide global audiences. Cinema is not only a communicator of ideas and an essential component of the culture industries. It is also a crucial pedagogical tool that facilitates efficient learning and motivates participation from new generations of audiences. It can help audiences, 'old' and 'new', to rethink their place in the world, and crucially, it can also motivate them to do something about the injustices and exploitation to which they are witness.
--Pietari Kääpä

Openness exists . . .not only for the person to whom one listens, but rather anyone who listens is fundamentally open. Without this kind of openness to one another there is no genuine human relationship. Belonging together always also means being able to listen to one another.

--Hans-Georg Gadamer Truth and Method (Source)

Our human existence is rooted in sex. .... It lies at the very heart of love. Though conservatives reject the very idea as dangerous, I would say that the way to save us from our own perversity is by confronting sex courageously. ... Sex brings relief from tension and enmity and leads to harmony in human relationships--husband and wife, [friends] and strangers. (109)

Kaneto Shindō, qouted in McDonald, Keiko. "Eros, Politics, and Folk Religion: Kaneto Shindō's Onobaba (1963)." Reading a Japanese Film: Cinema in Context. Honolulu: University of Hawai'i Press, 2006: 108-121.

‘We do not remember, we rewrite memory much as history is rewritten’
Narrator of Chris Marker's film Sans Soleil (1983)

"The tradition of the oppressed teaches us that the ‘emergency situation’ in which we live is not the exception, but the rule.”
--Walter Benjamin, Theses on the Philosophy of History

"What is focus, and who has the right to say what is legitimate focus?
-- Julie Margaret Cameron, late 19th Century Photographer

"Death is never the end of the story, it always leave tracks."
-- Notary Jean Label in Incendies (2010)

"We do not grow absolutely, chronologically. We grow sometimes in one dimension, and not in another; unevenly. We grow partially. We are relative. We are mature in one realm, childish in another. The past, present, and future mingle and pull us backward, forward, or fix us in the present. We are made up of layers, cells, constellations."
-- Anaïs Nin, The Diary of Anaïs Nin Vol. 4 (1971)

"Power fears poetry... Poetry resides somewhere else, somewhere inaccessible to power; it evokes sentiments, touches being, and speaks in a strange tongue." (163)
--Andy Merrifield, Magical Marxism: Subversive Politics and the Imagination (2011)

"Like religion, a good movie really does answer the only three questions worth asking in life: who you are, where you come from, and what you should do. In its essential narrative arc, a movie gives you clues as to your ultimate identity, the nature of how the world really is, and your mission in life. And if you learn the basics of screenplay writing, you discover very quickly that almost every film script follows a dramatic formula identical to the formula of the standard religious sermon. In the screenplay, the writer’s task is to create an emotionally sympathetic character who is nevertheless guilty of some form of misbehavior, who then must, through an escalating series of forced crises, confront his or her misbehavior and overcome it. Likewise, in your standard sermon, the preacher’s art is to describe, through personal, historical, and anecdotal evidence, the universal sin (read: misbehavior) of the human species, and how God alone can solve this basic problem, and happily, how he does. Both sermons and movies (in America at least) thus, have the same theological bias that favors a happy ending."
--Read Mercer Schuchardt, "Cinema: The New Cathedral of Hollywood" (2001)

Unlike other forms of artistic expression, cinema is an "industrial form of art": in order to express itself fully, it needs ever-greater financial investments. This means that the author's artistic expression is conditioned right from the start--and it would be hypocritical not to admit this--by the capital invested. These capital sources can be motivated not just by the simple and legitimate desire for expression, but also by power groups, concentrations and lobbies of all sorts and backgrounds, who can use cinematographic media in instrumental way to advance particular interests that that have little or nothing to do with the noble--and general--principle of the freedom of expression.
--Vittorio Giacci, "Cinema, Responsibility, and Formation" (2007)

In the end, confusion is not a lack of understanding. It's more understanding. Mainstream reporting and some people in power want to make everything clear to people--at the expense of the very issues and people they deal with. They can't. If it's complicated. leave it as complicated. Give people a chance to think.
--Kal Kim-Gibson, "Dreamland and Disillusion." (Film Quarterly: Fall 2011)

Film is often just business -- I understand that and it's not something I concern myself with. But if film aspires to be part of culture, it should do the things great literature, music and art do: elevate the spirit, help us understand ourselves and the world around us and give people the feeling they are not alone…
--Krzysztof Kieslowski, "Kieslowski’s Three Colors." (Salon: June 10, 2002)

"When a morally compromised author claims the field of aesthetics as a value-free area it should make his readers stop and think."
--W.G. Sebald, On the Natural History of Destruction (1997)

“In an age when reality is insufficiently real, how much reality can a fictional story possess?”
-- Haruki Murakami (2011)

"In most cases, it is virtually impossible to grasp a truth in its original form and depict it accurately. This is why we try to grab its tail by luring the truth from its hiding place, transferring it to a fictional location, and replacing it with a fictional form."
-- Haruki Murakami (2011)

"I think the whole point of OWS is encouraging people to reinvent democracy from different angles and from their own terms," he says. "On one hand, it's a very communal project and on the other hand, it's about individuals who are not necessarily in agreement finding ways to see things anew."
-- Chris Marker, quoted in Steve Dollar's Occupy This (2012)

“Why should an artist’s way of looking at the world have any meaning for us? Why does it give us pleasure? Because, I believe, it increases our awareness of our own potentiality.”
— John Berger, Permanent Red: Essays in Seeing (1960)

"How can I overcome the prejudices of the bits and pieces of mysteries that reside within me, and how can I break through the prejudices that are anchored in the mysteries of others, so that together with them we may create something beautiful out of something that is ugly?"
-- Vilém Flusser, The Freedom of the Migrant: Objections to Nationalism (1994)

“This time the invaders aren’t armed, but they have more damaging weapons than cannons: dollars! So that everything they touch turns to garbage. The whole country is rotten.”
--The Haitian maître d’ Albert, Heading South (2005)

“Truth is not born nor is it to be found inside the head of an individual person, it is born between people collectively searching for truth, in the process of their dialogic interaction.”
-- M.M. Bakhtin, Problems of Dostoevsky’s Poetics (1984)

Realism? Me? I’ve not a damn thing to do with it. The religious attitude to reality has never concerned me.
-- Theo Angelopoulos, cited by Raymond Durgnat in “The Long Take in Voyage to Cythera: Brecht and Marx vs. Bazin and God.” Film Comment 26.6 (November/December, 1990): 43-46

Again and again, I was forced, as any reader is, to return to my own reality, to analyze everybody's reality. A criterion, by the way, by which I would measure any work of art.
--Rainer Werner Fassbinder (1980), in The Anarchy of the Imagination (1992)

One problem with the word “shaman,” which traces its origins to the Siberian steppe, is that it is popularly employed by people more interested in fantasizing about some alternate reality than squaring their shoulders to bear the mundane burdens of this one. However, in cultures where such an office exists, the job of the shaman is primarily to foster the interrelation of two groups or positions that have hardened into such stubborn opposition that the survival of the society is at risk. For life to go on, the two camps must overcome their polemic, and the shaman acts by throwing himself into the fray—mentally, bodily, and emotionally, sometimes at personal risk. The result of his labors typically constitutes a paradigm shift rather than a compromise: the rules, though not necessarily undone, are re-contextualized and the system changes, including the position of the shaman himself.
--Matt Kirby, "I Heart Huckabees Premodern Help for Postmodern Times." (2004)

Many film-makers, including Orson Welles and the avant-gardists Maya Deren, Harry Smith, Stan Brakhage, and Kenneth Anger, identified their practice with magic – albeit in varying ways. Welles had extensive experience as a stage magician and made his last feature, the faux documentary F is For Fake precisely about cinematic sleight of hand; Deren was a serious student of Haitian vodoo; Smith considered his cut and paste animations a form of alchemy; Brakhage referred to "trick" as the medium's fundamental rule; and Anger was a disciple of Aleister Crowley, who considered making a film akin to casting a spell. (Walt Disney would have agreed.)
--J. Hoberman, "Hugo and the Magic of Film Trickery" (2012)

"I understood writing could be dangerous. I didn't realize the danger came from the machinery."
--William Lee in David Cronenberg's film "Naked Lunch" (1991)

“You know, films are a world within a world. And maybe it’s a world within a world within a world – within another world. It’s a really beautiful thing how lost we are, and we want to get even more lost sometimes.” -- David Lynch

It is clear that I must find my other half. But is it a he or a she? What does this person look like? Identical to me? Or somehow complementary? Does my other half have what I don’t? Did he get the looks? The luck? The love? Were we really separated forceably or did he just run off with the good stuff? Or did I? Will this person embarrass me? What about sex? Is that how we put ourselves back together again? Or can two people actually become one again?” — Hedwig and the Angry Inch

Now look again at that list of effects -- horrific, tragic, epic, comic, pathetic, sublime, absurd, intriguing, disgusting, shocking, thrilling, and wonderful -- a list that's not even a fraction complete. When we're talking about these effects achieved by the art we are talking about affects manifested in the audience, emotional responses of horror, awe, pity, amusement, intrigue and so on. When we're talking about an aesthetic as the set of principles underpinning these responses we're talking about a system which evaluates experience itself. We're talking about our tastes and distates, desires and fears, prejudices and perversions, the basic rules and relationships which shape our affective response to not just art but life itself. Our aesthetic sits at the very heart of our personality. When we respond with horror to a car crash, real or imaginary, it is an aesthetic reaction. When we respond with awe to a sweeping vista of canyons and mountains, it is an aesthetic judgement. When we respond to the image of two men kissing with appetence or abhorrence, that evaluation is defined by and defines our personal aesthetic. Good taste and appreciation of beauty? Screw that. An aesthetic is the set of principles that make you want to fight or fuck.
--Hal Duncan, "The Art of Life" (February 10, 2007)

"All the animals come out at night: whores, skunk pussies, buggers, queens, fairies, dopers, junkies, sick, venal. Someday a real rain will come and wash all this scum off the streets."

Travis Bickle in Taxi Driver (1976)

"Another Day witnessing existence in bewilderment."
Grandma in The Great Match (2006)

"There's never been a true war that wasn't fought between two sets of people who were certain they were in the right. The really dangerous people believe that they are doing whatever they are doing solely and only because it is without question the right thing to do. And that is what makes them dangerous."
--Wednesday, in Neil Gaiman's novel American Gods (2001)

"There are no dangerous thoughts, thinking itself is dangerous..."
-Hannah Arendt, "Thinking and Moral Considerations"(1971)

The disruption and transgression of the normative and conceptual frameworks of everyday experience, and the provision of a space within which it is possible to imagine not just the satisfaction of familiar wants unmet by existing society, but to envisage wanting something other than the satisfactions which that society endorses and simultaneously denies: above all, to desire in a different way. -- Ruth Levitas, "For Utopia: The (Limits of the) Utopian Function in Late Capitalist Society" (2001: 38-39)

The battle for the mind of North America will be fought in the video arena: the Videodrome. The television screen is the retina of the mind's eye. Therefore, the television screen is part of the physical structure of the brain. Therefore, whatever appears on the television screen emerges as raw experience for those who watch it. Therefore, television is reality, and reality is less than television.
Brian O'Blivion, in Videodrome (1983)

"Although the assembly of the shots is responsible for the structure of the film, it does not, as is generally assumed, create its rhythm; the distinct time running through the shots makes the rhythm of the picture, and the rhythm is determined not by the length of edited pieces, but by the pressure of the time that runs through them. The pieces that 'won't edit', that can't be properly joined, are those which record a radically different kind of time" -– Andrei Tarkovsky, "Sculpting in Time" (1987: 2nd edition)

"The camera exists to create a new art and to show above all what cannot be seen elsewhere: neither in theater nor in life. Otherwise, I'd have no need of it; doing photography doesn't interest me. That, I leave to the photographer." -- Max Ophüls

“When I say this is the most important motion picture you’ll ever attend, my motivation is not financial gain, but a firm belief that the delicate fabric that holds all of us together will be ripped apart unless every man, woman, and child in this country sees this film and pays full ticket price, not some bargain matinee cut-rate deal. In the event that you find certain sequences or events confusing, please bear in mind this is your fault, not ours. You will need to see the picture again and again until you understand everything.” —Steven Soderbergh in Schizopolis (1996)

“The process of coming to know oneself, confronting one’s contingency, tracking one’s causes home, is identical with the process of inventing a new language—that is, of thinking up some new metaphors.” -- Richard Rorty, Contingency, Irony, and Solidarity (1989)

"If his was more than just a vague ambition, if he was absolutely determined to discover the truth, there's no way we could prevent him." -- Christof, The Truman Show (1998)

"The artist seeks to destroy the stability by which society lives, for the sake of drawing closer to the ideal. Society seeks stability, the artist—infinity. The artist is concerned with absolute truth, and therefore gazes ahead and sees things sooner than other people.” ­ -- Andrei Tarkovsky, Sculpting in Time (1987: 2nd edition)

"It is the particular distinction of Denis’ cinema that sets it apart from – almost, indeed, in opposition to – the work of many of our most celebrated ‘arthouse’ directors: Bergman, for example, or Fellini or Antonioni. Their films are rooted in autobiography – not necessarily in any literal sense, but in terms of personal introspection – whereas Denis left autobiography behind with Chocolat, and even that film is notable for its poise and critical distance, its objectivity. Where Bergman or Fellini seems to be saying to us ‘Come with me and I’ll tell you my secrets, share my experiences – how I feel about things, my thoughts about existence’, Denis issues a very different invitation to the spectator: ‘Come with me and we’ll play a game, albeit a serious one. Let’s see how much you can notice in what I decide to show you, how you interpret what you see and hear, what connections you can make, how much can be explained and how much remains mysterious and uncertain, as so much in our lives remains unclear. I’ll allow you a certain leeway of interpretation, because I don’t always understand everything myself, not even my own creations, though I’ll be as precise as possible…’" -- Robin Wood, "Only (Dis)Connect; and Never Relaxez-Vous; or, ‘I Can’t Sleep’" (2011)

"I owe Armenia a cinematographic confession. A sort of personal bible: my mother, my father, my childhood, my imprisonment. My vision of dreams... the ghosts seek shelter with me, their living heir. But I can’t take them in. I have to tell the police that they’re staying with me. They know neither electricity nor insurance agents. They know no evil. They want to stay with me. I have to prove I love them." -- Sergei Parajanov, quoted in "Deep Red: Joanne Nucho on The Color of Pomegranates (2004)

"In the old days, when you couldn't show sex on film, directors like Hitchcock had metaphors for sex (trains going into tunnels, etc). When you can show more realistic sex, the sex itself can be a metaphor for other parts of the character's lives. The way people express themselves sexually can tell you a lot about who they are. Some people ask me, 'Couldn't you have told the same story without the explicitness?'. They don't ask whether I could've done Hedwig without the songs. Why not be allowed to use every paint in the paintbox?" --John Cameron Mitchell, "How to Shoot Sex: A Docu-Primer" (2007): Shortbus Region 1 DVD release (Th!nk Film)

"The character of any age is tellingly revealed in the popular representation of intimacy. For all the sexualisation of our culture, we live in strangely repressed times: a late-night, infrared fumble on Big Brother is front-page news. While the online porn industry, with its humourless siliconed stereotypes, is worth a reported $10bn a year - more than the cumulative box-office receipts of Hollywood - real human sexual relationships, vulnerable and fun, are hardly anywhere to be seen." --Tim Adams, "Everbody's Doing It..." (2006)

Porter's experiments, however fumbling they appear in hindsight, point us to a curious quandary at the heart of filmmaking: what is it that makes cutting work? How is it that we accept such a violent transition — whether it be from a wide shot to a close-up, from Paris to the Sahara desert, or from the seventeenth century to the present — as a cut? "Nothing in our day-to-day experience seems to prepare us for such a thing," Walter Murch observes. "From the moment we get up in the morning until we close our eyes at night, the visual reality we perceive is a continuous stream of linked images: In fact, for millions of years — tens, hundreds of millions of years — life on Earth has experienced the world in this way. Then suddenly, at the beginning of the twentieth century, human beings were confronted with something else — edited film." What prepared them for this? Not painting, not theater, not even literature, cinematic as some of Dickens's scenes now appear. Murch speculates that it was dreams. "We accept the cut because it resembles the way images are juxtaposed in our dreams," he writes. "In the darkness of the theater, we say to ourselves, in effect, 'This looks like reality, but it cannot be reality because it is so visually discontinuous; therefore, it must be a dream.'" Director John Huston saw it differently. Cinema, he said, was not just a reflection of our dream lives but the very essence of conscious thought, with its fitful jumble of visuals and sound: "To me the perfect film is as though it were unwinding behind your eyes, and your eyes were projecting it themselves, so that you were seeing what you wished to see. It's like thought. It's the closest to thought process of any art." Watch the final moments of his film The Dead (1987) and you'll have some idea of what he's talking about. As Gabriel Conroy (Donal McCann) gazes out the frosty filigree of his Dublin window, somberly musing on the emptiness of his life, the film, with no more than a few simple cuts, slips aboard his stream of consciousness as it glides from thought to thought: from past memories to future projections to the lonely churchyard on the hill where his wife's lover lies buried.
--Graham Daesler, "Cutter's Way: The Mysterious Art of Film Editing." (2012)

A TV show can’t hold people and institutions to account like good journalism can. But if I can make you care about a character, I may make you think a little longer about certain dynamics that might cause you to reconsider your own political inertia or your own political myopia. You might be more willing to accept a critique of the prevailing political and social systems.
--David Simon: quoted in Julia Leyda, "'This Complicated, Colossal Failure': The Abjection of Creighton Bernette in HBO's Treme." (2012)

The moment of violence in films is never arbitrary or innocent. Yet, there is no singular reading or simple yardstick that can be used to either condone or condemn how violence is represented, taken up by diverse audiences, or used to maximize pleasure so as to give it a liberatory or fascist edge. Cinematic violence can be used to probe the depths of everyday life in ways that expand one's understanding of tyranny and domination; it can also be used to maximize the sleazy side of pleasure, reinforce demeaning stereotypes, or provoke cheap voyeurism. Cinematic violence operates on many registers and any theoretical and pedagogical attempt to deal with complex representations of violence must be discriminatory in taking up such distinctions. As widespread as the culture of violence might be, it is especially imperative that educators, parents, citizens, and cultural workers challenge the representations of violence that have become a defining principle of the visual media. Such a challenge needs to be enunciated critically as part of a broader public policy to both protect youth and to enable them to discern between the violence of the spectacle and a representational violence that allows them to identify with the suffering of others, display empathy, and bring their own ethical commitments to bear.
--Henry A. Giroux, "Racism and the Aesthetic of Hyperreal Violence: Pulp Fiction and Other Visual Tragedies." (1995)

“The concept of ‘obscenity’ is tested when one dares to look at something that he has an unbearable desire to see but has forbidden himself to look at. When one feels that everything that one had wanted to see has been revealed, ‘obscenity’ disappears, the taboo disappears as well, and there is a certain liberation.”

--Nagisa Oshima, quoted in Oshima in Words and Images

“To the leaders of the cinema still to come, I can offer only a few words drawn from my modest experience. You must ceaselessly formulate and sharpen your critical views, both of others and of yourselves.” --Nagisa Oshima, quoted in Oshima in Words and Images

"Film matters, among other things, because it has an extraordinary capacity to expand our reality, to deepen our moral sensibility, and to shape our self-understandings, sometimes by moving us closer to cultures, problems, and realities that are distant from those we know well. That said, I think it is far from being the case that all films matter. The task, I think, for film scholars in the future will be to help to ensure that films that genuinely do matter continue to get made, and that they receive the attention they deserve."--Matte Hjort, "Film ... has an extraordinary capacity to expand our reality." Why Does Film Matter (Intellect Books, 2008)

"Sex is just another brushstroke in the painting of life. Fear of sex is at the root of many problems that aren't directly connected to sex."--John Cameron Mitchell discussing Shortbus (2006)

“The observer, when he seems to himself to be observing a stone, is really, if physics is to be believed, observing the effects of the stone upon himself.” -- Bertrand Russell, An Inquiry Into Meaning and Truth (1950)

“At a certain point, I felt so useless!” said Roberto Rossellini. Never before had technology accomplished such miracles. Yet everywhere the world was confronting crises. Never before had civilization so needed us all to understand the great problems—food, water, energy. Yet everywhere, especially in contemporary art, there was nothing but cruelty and complaining. The mass media, Rossellini charged, were accomplishing “a sort of cretinization of adults.” Rather than illuminate people, their great effort seemed to be to subjugate them, “to create slaves who think they’re free.” -- quoted by Tag Gallagher

"What's the most resilient parasite? An idea. A single idea from the human mind can build cities. An idea can transform the world and rewrite all the rules. -- Cobb in the film Inception (2010)

"The fact is that war changes men's natures. The barbarities of war are seldom committed by abnormal men. The tragedy of war is that the horrors are committed by normal men in abnormal situations … I say that we cannot hope to judge such matters unless we ourselves have been submitted to the same pressures and the same provocations as these men whose actions are on trial." -- The character Major J.F. Thomas in Breaker Morant (1980)

“Originally, the embeddedness of an artwork in the context of a tradition found expression in a cult. As we know, the earliest artworks originated in the service of rituals....in other words: the unique value of the ‘authentic’ work of art always has its basis in ritual.” —Walter Benjamin, "The Work of Art in the Age of Its Technological Reproducibility" (1936)

"You're television incarnate, Diana: indifferent to suffering; insensitive to joy. All of life is reduced to the common rubble of banality. War, murder, death are all the same to you as bottles of beer. And the daily business of life is a corrupt comedy." -- Max Schumacher in Network (1976)

"It is a truism too often forgotten that what begins as movie can end up as history. Writing in The New York Review of Books, Oliver Sacks reminds us that Ronald Reagan was fond of telling a story on the campaign trail about a heroic WWII bomber pilot going down with his plane; it later came out that this was not a historical event at all, but a scene from a the movie A Wing and a Prayer. In the aftermath of 9/11, initiating the manhunt for Bin Laden, George Bush memorably declared that "There's an old poster out West that I recall that said, 'Wanted — Dead or Alive.'" This is a phrase far more common in cinema than it ever was in real life. In neither case was the politician lying, or probably even aware that his memories of movies had become so mingled with his memories of history that the two could not be separated. They were simply employing for rhetorical purposes what they believed to be truths about American history." -- Tyler Sage, "Tarantino and Spielberg: Two Visions of America" (2013)

"The struggle for self-determination, the struggle for what a character wants his life to be…I look for characters who feel strongly enough about something not to be concerned with the prevailing odds, but to struggle against those odds." -- Robert Aldritch (1976)

"Existing criminology is insufficient to isolate barbarism. It is insufficient because the idea of "crime" in existing criminology is artificial, for what is called crime is really an infringement of "existing laws", whereas "laws" are very often a manifestation of barbarism and violence. Such are the prohibiting laws of different kinds which abound in modern life. The number of these laws is constantly growing in all countries and, owing to this, what is called crime is very often not a crime at all, for it contains no element of violence or harm. On the other hand, unquestionable crimes escape the field of vision of criminology, either because they have not recognized the form of crime or because they surpass a certain scale. In existing criminology there are concepts: a criminal man, a criminal profession, a criminal society, a criminal sect, and a criminal tribe, but there is no concept of a criminal state, or a criminal government, or criminal legislation. Consequently what is often regarded as "political" activity is in fact a criminal activity. This limitation of the field of vision of criminology together with the absence of an exact and permanent definition of the concept of crime is one of the chief characteristics of our culture." -- P.D. Ouspensky, A New Model of the Universe (Second Edition, 1934)

“There's a time when the operation of the machine becomes so odious—makes you so sick at heart—that you can't take part. You can't even passively take part. And you've got to put your bodies upon the gears and upon the wheels, upon the levers, upon all the apparatus, and you've got to make it stop. And you've got to indicate to the people who run it, to the people who own it that unless you're free, the machine will be prevented from working at all.” ― Mario Savio, December 2, 1964

"People define gay cinema solely by content: if there are gay characters in it, it's a gay film . . . It's such a failure of the imagination, let alone the ability to look beyond content . . . Heterosexuality to me is a structure as much as it is a content. It is an imposed structure that goes along with the patriarchal, dominant structure that constrains and defines society. If homosexuality is the opposite or counter-sexual activity to that, then what kind of a structure would it be?" -- Todd Haynes, quoted in "Structural/Sexual Transgression: Todd Haynes' Poison as a Critique of Homonormativity" (2013)

“I love the idea that knowledge can make us closer to the world, as opposed to make us feel superior to the world.”— Guillermo del Toro (2012)

Dialogic: Resources for April 1, 2014

Niamh Bolton reminded me of this: "This inability to think created the possibility for many ordinary men to commit evil deeds on a gigantic scale; the likes in which one has never seen before...The manifestation of the wind of thought is not knowledge...but the ability to tell right from wrong, beautiful from ugly, and I hope that thinking gives the strengths to prevent catastrophes in these rare moments when the chips are down." -- Hannah Arendt in Margaretha von Trotta's 2012 film Hannah Arendt

Emily Hensley's ENG 282 Spring 2014 response to the film Even the Rain: "Prior to watching this film I had never heard of these Water Wars. I find it very disturbing that I have been so secluded to what has been going on all around me. When this happened I was in high school and it either wasn’t taught and/or most likely I wasn’t highly concerned with current events around the world. However, now looking back I feel saddened that I have been so oblivious to what others have been through. I feel that I have learned more in this class by watching these films than I ever have over my entire life span. I’m truly grateful to have a new outlook upon life and the world we live in. I realize now that these events do matter not only because these people "matter" and they are “important” but also because one day I may not be so lucky… these horrors may come knocking at my door."

"Our lives are not our own. From womb to tomb, we are bound to others. Past and present. And by each crime and every kindness, we birth our future." -- Cloud Atlas (2012)

Film study needs to probe its limit cases – those films, directors, moments, genres and practices which return insistently to needle it, dropping an un-ignorable boodle just beyond the gates of the currently sayable and thinkable within critical writing. A reconnaissance mission for those zones of the cinema, and our experience of cinema, which are livelier, messier and more open than our present intellectual tools can allow for and accommodate. A search for a cinema of edges – hard edges, lines out, explosive paradoxes. The cinema that draws us on towards it – dumbfounding us, yet daring us, all the while, to try to speak of it. -- Adrian Martin, "Sixteen Ways to Pronounce Potato, or: The Adventure of Materials" (1987)

"Following the views of Paul Ricoeur and David Carr, I argue that our life is best understood as the product of our own narration: we account for the meaning of our lives in the terms of a story about what we have done and who we plan to be, selectively emphasizing and interpreting life's events into a unified whole, like the plot of a novel. If this view is correct, and I believe there is good reason to think it is, then the creation of a meaningful life and the imposition of meaning on the world around us is a creative process that is not dissimilar to the creation of a film. Films are realistic, I contend, not because they reflect the world the way it really is, but because they reflect the world the way we experience it - as a process of choosing among narratives we inherit from our cultural traditions and finding, or creating, our own reading of events. In short, films are realistic portrayals of how we encounter life in the one aspect that is crucial for this book: the way in which we establish meaning (5)." -- Pamerleau, William C. Existentialist Cinema. NY: Palgrave Macmillan, 2009.



"The word griot...is the word for what I do and the role that the filmmaker has in society...the griot is a messenger of one's time, a visionary and the creator of the future." -Djibril Diop Mambéty (2014)

"The common denominator of the universe is not harmony, but chaos, hostility, and murder."-- Werner Herzog

“To be frank, I think his world had vanished long before he even entered it. But I must say, he maintained the illusion with grace.” -- Zero about Gustave H. (2014)

"The writings of André Bazin regarding cinematic fictions make for an interesting point of comparison. Bazin snapped into focus something that had been present for, but not as forcefully articulated by, previous thinkers about cinema, which is that there is a tripleness to watching fiction film. We watch, as it were, with three eyes: 1) attuned to the proceedings as artifice, as projected light arranged in patterns that tell a story; 2) attuned to the proceedings of the story; and 3) attuned to the proceedings as their own reality, as documents of events that actually took place. When we watch the opening of The Searchers, we simultaneously see: A) a human cipher made of light approach a house made of the same; B) Ethan Edwards return from the Civil War; and C) John Wayne ride a horse up to a solid-seeming building." -- Tom McCormack (2011)


Eve: “Can you tell your wife what your problem is?”

Adam: “It’s these zombies and the way they treat the world. I just feel like all of the sand is at the bottom of the hourglass or something.”

Eve: “Time to turn it over then.” Only Lovers Left Alive (2013)


"It was in the reign of George III that the aforesaid personages lived and quarreled; good or bad, handsome or ugly, rich or poor, they are all equal now." -- Barry Lyndon (1975)


“I think hard times are coming when we will be wanting the voices of writers who can see alternatives to how we live now and can see through our fear-stricken society.... We will need writers who can remember freedom.” -- Ursula K. LeGuin, 2014 National Book Award Acceptance Speech


"And that was the nature of my game, because I'd spent most of my life as a blind receptacle to be filled with other people's knowledge and then drained, spouting synthetic languages I'd never understand. A very technical boy, sure." - William Gibson, "Johnny Mnemonic" (1981)

Resources for September 25, 2014

Marsh, Calum. "Josh and Benny Safdie on Heaven Knows What: Speaking of drama, time, street life and strange attractions: ‘You’re constantly flirting with death.’" Keyframe (September 23, 2014)





Orr, Christopher. "Raising Arizona: Come for the infant abduction, stay for the yodeling." The Atlantic (September 9, 2014)

Nichols, John. "Barbara Lee Still Speaks: Arguing That Congress Must Declare Wars." The Nation (September 24, 2014)

Gomez-Peña, Guillermo. Dangerous Border Crossers: The Artist Talks Back. NY: Routledge, 2000.

Hudson, David. "Almodóvar @ 65: Assessments of the oeuvre and, of course, a lively supercut." Keyframe (September 24, 2014)

Orr, Christopher. "Miller's Crossing: An overdue love letter to the extraordinary meta gangster movie." The Atlantic (September 10, 2014)





Greenwald, Glenn. "Syria Becomes the 7th Predominantly Muslim Country Bombed by 2009 Nobel Peace Laureate." The Intercept (September 23, 2014)

Healy, Jack. "In Colorado, a Student Counterprotest to an Anti-Protest Curriculum." The New York Times (September 24, 2014)

Perl, Jed. "The Cult of Jeff Koons." The New York Review of Books (September 25, 2014)


Merriam-Webster Word-of-the-Day:

palaver \puh-LAV-er\

noun 1 : a long discussion or meeting usually between persons of different cultures or levels of sophistication; 2 a: idle talk, b: misleading or beguiling speech
EXAMPLES

"I don't know how you can stand to listen to that palaver," said Rachel, as she switched off the talk show her brother had been listening to on the radio.

"The violinist Geoff Nuttall now directs the series, with a more contemporary sensibility in both programming and in the often corny introductory palaver carried over from the Wadsworth era." — James R. Oestreich, The New York Times, June 4, 2014

During the 18th century, Portuguese and English sailors often met during trading trips along the West African coast. This contact prompted the English to borrow the Portuguese palavra, which usually means "speech" or "word" but was used by Portuguese traders with the specific meaning "discussions with natives." The Portuguese word traces back to the Late Latin parabola, a noun meaning "speech" or "parable," which in turn comes from the Greek parabolē, meaning "juxtaposition" or "comparison."

Wednesday, September 24, 2014

Resources for September 24, 2014

"Members of Pussy Riot Launch Independent News Service in Russia." Voice Project (September 4, 2014)

Cronk, Jordan. "Mean Streets." Reverse Shot (September 19, 2014)







Orr, Christopher. "Burn After Reading: Sex farce masquerades as a spy flick in the brothers' blackest comedy." The Atlantic (September 30, 2014)





I disagree with everything you say, but I shall fight to the death for your right to say it -- Voltaire (1694-1778)


'As we are told endlessly, journalists do not express opinions; they simply report the facts. ... 'This is an obvious pretense, a conceit of the profession. The perceptions and pronouncements of human beings are inherently subjective. Every news article is the product of all sorts of highly subjective cultural, nationalistic, and political assumptions. And all journalism serves one faction's interests or another.' (Greenwald, Glenn. No Place To Hide, 2014, p.471)


Orr, Christopher. "Blood Simple: Revisiting the lethal cunning of the filmmakers’ debut." The Atlantic (September 8, 2014)


Merriam-Webster Word-of-the-Day

teleological \tel-ee-uh-LAH-jih-kul\

adjective: exhibiting or relating to design or purpose especially in nature

EXAMPLES:

At dinner, Sandra and Miguel debated whether or not the complex structure of the human eye implied a teleological origin.

"There is also something of a teleological aspect to all this urbanization hoopla, one that suggests that man was put on this planet to shop at Whole Foods." — Lionel Beehner, USA Today, February 25, 2014

Teleological (which comes to us by way of New Latin from the Greek root tele-, telos, meaning "end or purpose") and its close relative teleology both entered English in the 18th century, followed by teleologist in the 19th century. Teleology has the basic meaning of "the study of ends or purposes." A teleologist attempts to understand the purpose of something by looking at its results. A teleological philosopher might argue that we should judge whether an act is good or bad by seeing if it produces a good or bad result, and a teleological explanation of evolutionary changes claims that all such changes occur for a definite purpose.

Tuesday, September 23, 2014

Resources for September 23, 2014

Burke, Al. "Murdering Language In the Name of the Law: The Strange Case of Julian Assange and the Swedish Prosecutor." The Lexander Magazine (September 12, 2014)




Flaherty, Colleen. "A House Divided." Inside Higher Ed (September 22, 2014)





Greenwald, Glenn. "Australia’s Prime Minister gives a master class in exploiting terrorism fears to seize new powers." The Intercept (September 22, 2014)

"UN Panel Discussion on Use of Drones in Military Operations – Featuring CCR’s Pardiss Kebriaei." Center for Constitutional Rights (September 22, 2014)

"The Movies 50 Greatest Pop Music Moments." The Dissolve (2014)

Brody, Richard. "Hitchcock and the Holocaust." The New Yorker (January 9, 2014)

Appignanesi, Lisa. "The Assassination of Hilary Mantel." The Guardian ("The attacks on the Assassination of Margaret Thatcher author show how vital it is to keep the thought police at bay.")


Merriam Webster Word-of-the-Day

esurient \ih-SUR-ee-unt\

adjective: hungry, greedy

EXAMPLES

No one was surprised that the esurient media mogul planned to expand his empire into the social-media marketplace.

"She sat opposite him …, as plump and indifferent to his presence as an old tabby cat whose esurient eye was wholly focused on a particularly toothsome mouse." — Pamela Aidan, An Assembly Such as This: A Novel of Fitzwilliam Darcy, Gentleman, 2006

If you’re hungry for a new way to express your hunger, you might find that esurient suits your palate. Be forewarned, however, that when used literally esurient has a humorous flavor. This somewhat obscure word first appeared in English in the second half of the 17th century, deriving from the present participle of the Latin verb esurire, meaning "to be hungry." It is also related to edere, the Latin verb for "eat," which has given us such scrumptious fare as edible and its synonyms esculent and comestible. Esurient can be used somewhat playfully to suggest an actual hunger for food, but it is more often applied to such things as wealth or power. In the latter contexts, it takes on the connotation of greedy.

Sunday, September 21, 2014

Resources for September 21, 2014

Nacpil, Lidy, et al. "A People’s Climate Movement: Indigenous, Labor, Faith Groups Prepare for Historic March." Democracy Now (September 19, 2014)

"Livestream: People's Climate March." Democracy Now (September 21, 2014)

Foderaro, Lisa. "At Climate Change March in New York, a Clarion Call for Action." The New York Times (September 21, 2014)




Durodié, Bill, Sibel Edmonds, and Rebecca Gordon. "Social Destabilization Tactics Post 1989 (The Terrifying Business of the War On Terror)." Unwelcome Guests #694 (August 23, 2014)

Romney, Jonathan. "Film of the Week: God Help the Girl." Film Comment (January 17, 2014)

Newman, Kim. "Guardians of the Galaxy: Marvel calls up its reserve superheroes for a rambunctious outer-space caper." Sight and Sound (August 21, 2014)

Cheney, Matthew. "What is Composition?" Press Play (September 2, 2014)

Shaviro, Steven. "A Brief Remark on Zero Dark Thirty." The Pinocchio Theory (January 18, 2013)

Blueford, Jeralynn, et al. "No Justice, No Peace: Families of Police Brutality Victims Speak Out." We are Many (June 2014) ["Police brutality is a growing epidemic in the United States. Every day there is a story of beatings and killings perpetrated by cops, most often, but not exclusively, perpetrated against youth of color. This panel looks at not only some of the cases and what they tell us about the nature of policing in the US today, but also discusses the struggles of families, friends, and activists for the real justice that is so elusive in this country."]

Mandarino, Grant. "Photography and Marxism." We are Many (June 26, 2014) ["This talk provides an introductory overview of critical approaches to the subject of photography over the course of the 20th century, with particular attention paid to the question: How do photographs shape our experience of the world? The presentation focuses on how Marxists have dealt with this medium and its ability to harness or subvert ideological positions both in practice and theory."]


Thursday, September 18, 2014

Hearts and Minds (USA: Peter Davis, 1974)



Hearts and Minds (USA: Peter Davis, 1974: 112 mins)

Anderegg, Michael A. Inventing Vietnam: The War in Film and Television. Temple University Press, 1991.

Brigham, Robert K. "Hearts and Minds: The Human Connection." Current (June 24, 2014)

Canby, Vincent. "Hearts and Minds: A Film Study of Power." The New York Times (March 24, 1975)

Crist, Judith. "Hearts and Minds: The Right Side of History." Current (June 23, 2014)

Davis, Peter. "Hearts and Minds: Vietnam and Memory." Current (June 17, 2014)

---. "On Hearts and Minds." Documentary is Never Neutral (No Date)

---. "Remembering Bert Schneider." Current (June 30, 2014)

Dittmar, Linda and Michaud, Gene. From Hanoi to Hollywood: The Vietnam War in American Film. New Brunswick, NJ: Rutgers University Press, 1990.

Fonda, Jane. "Terror and Trauma." The Guardian (November 18, 2005)

Glennon, Michael J. "National Security and Double Government." Harvard National Security Journal 5.1 (2014)

Herring, George C. "Hearts and Minds: A Historical Context." Current (June 25, 2014)

Landau, Saul. "Hearts and Minds: An American Film Trial." Jump Cut #8 (1975)

Long, Ngo Vinh. "Hearts and Minds: Moving the Poeple." Current (June 27, 2014)

Ramirez, Jorge Luis. "The Depiction of Military Culture in Hearts and Minds." Trinity University (2006)

Schwartz, Larry. "Inside the Body of a War Zone." The Age (September 13, 2007)

Stetler, Karen. "Unused Footage from Hearts and Minds." Current (June 26, 2014)

Tallent, Charles. "Hearts and Minds: Analysis of War Propaganda and Dehumanization." Trinity University (2006)

Turse, Nick. "Kill Anything That Moves: New Book Exposes Hidden Crimes of the War Kerry, Hagel Fought in Vietnam." Democracy Now (January 15, 2013)





Resources for September 18, 2014




Kemp, Philip. "The Grand Budapest Hotel: Fanciful fabrication, fanatical detail and an undertone of rue combine in Wes Anderson’s most complete Sachertorte yet." Sight and Sound (March 7, 2014)

Byers, Christine. "Grand Jury Now Has Until January to Decide Whether to Charge a Ferguson Officer." St Louis Post Dispatch (September 15, 2014)





McDermot, Jim. "U.S. Ground Troops Back in Iraq? General Hints Broader Military Effort May Be Needed to Fight ISIS." Democracy Now (September 17, 2014)

Bragg, Billy and Sam Wetherell. "Debate: Should Scotland Vote for Independence?" Democracy Now (September 17, 2014)

Krzywinska, Tanya. "Transgression, transformation and titillation Jaromil Jireš's : Valerie a týden divů (Valerie and Her Week of Wonders, 1970)." Kino-Eye (September 15, 2003)

Lelyveld, Joseph. "Hillary." The New York Review of Books (September 25, 2014)

Brody, Richard. "Kiarostami's Like Someone in Love." The New Yorker (February 15, 2013)

Viola Critics Round Up (Ongoing Archive)

Sphinx Academy 2014/2015 Letterboxd Responses

Catherine H. (#1)

Morgan W. (#1)

Salma E. (#1)

Monday, September 15, 2014

Resources for September 15, 2014

Stranger by the Lake (France: Alain Guiraudie, 2013)

Ahmed, Nafeez. "How the West Created the Islamic State." TruthOut (September 14, 2014)


Edward Snowden, Glenn Greenwald, Julian Assange, and more -- starts at 21:40



Shared by KV:









Knight, Nika. "Back to School: Interview of Diane Ravitch." Guernica (September 15, 2014) ["The former assistant secretary of education grapples with the school-reform movement and the systemic issues that plague American education."]

Fox, Brad. "There is No Real Life: Interview of Aleksandar Hemon." Guernica (March 15, 2013) ["The MacArthur "Genius" on willful delusions, the ego’s limit, and the stories we tell to make sense of experience."]

Kurtzleben, Danielle. "41 maps (and charts) that explain the Midwest." Vox (September 15, 2014)

Fang, Lee. "Who Pays the Pro-War Pundits? Conflicts of Interest Exposed for TV Guests Backing Military Action." Democracy Now (September 15, 2014)

Saturday, September 13, 2014

Stranger By the Lake (France: Alain Guiraudie, 2013)



Stranger By the Lake (France: Alain Guiraudie, 2013: 100 mins)

Brody, Richard. "Silence Equals Death in Stranger By The Lake.” The New Yorker (January 24, 2014)

Elliot, Nicholas. "Filmmaker Guiraudie on his upcoming feature Stranger by the Lake, a story of love pushed to extremes." BOMB (January 21, 2014)

Erickson, Steven. "Alain Guiraudie’s Stranger by the Lake: ‘Perhaps the film reflects some nostalgia on my part for the idea that sexual liberation not only made us free but made us stand out.’ Keyframe (January 22, 2014)

Ferdinand, Marilyn. "CIFF 2013: Stranger by the Lake (L’inconnu du lac, 2013)." Ferdy on Film (2013)

Hudson, David. "Alain Guiraudie’s Stranger by the Lake." Keyframe (September 30, 2013)

James, Mark. "Stranger by the Lake (2013)." Film International (November 26, 2013)

Knegt, Peter. "Que(e)ries: Talking Sex With The Star and Director of NYFF's Raciest (Male) Gay Offering, 'Stranger By The Lake.'" IndieWire (October 10, 2013)

Koresky, Michael. "Stranger by the Lake." Reverse Shot (January 22, 2014)

Labuza, Peter and Carson Lund. "Special Episode - The 51st New York Film Festival #1." The Cinephiliacs (September 26, 2013)

Peranson, Mark. "TIFF 2013 | João Pedro Rodrigues & Alain Guiraudie on Stranger by the Lake (Alain Guiraudie, France)." Cinema Scope #55 (Summer 2013)

Quandt, James. "Dangerous Liaisons." Art Forum (January 20, 2014)

Rapold, Nicholas. "Interview: Alain Guiraudie." Film Comment (January 16, 2014)

Russell, Francey. "The Unknown Inside: Alain Guiraudie’s "L’inconnu du lac" (“Stranger by the Lake”)." The Los Angeles Review of Books (February 21, 2014)

Saner, Emine. "From Nymphomaniac to Stranger By the Lake, is Sex in Cinema Getting too Real?" The Guardian (February 21, 2014)

"Stranger by the Lake." Critics Round Up (Ongoing Archive)

Walters, Ben. "Stranger By the Lake - Lakeside cruising and what lies beneath: a spellbinding erotic mystery from French writer-director Alain Guiraudie." Sight and Sound (March 2014)


Resources for September 14, 2014

Reed, Kayla. "Japan’s Guardians Of The Galaxy ads have way more raccoons and trees." AV Club (September 12, 2014)

Marsh, Calum. "The Color Wheel: Confronting the Modern Condition." Keyframe (January 17, 2014)

Pinkerton, Nick. "New York’s Alright If You Like Saxophones: Permanent Vacation." Reverse Shot (Summer 2005)

Axemaker, Sean. "Send in THE CLOWNS: Fellini’s documentary pageant of the great clowns of Italy, France, and Britain is also a wake for the end of the circus clown era." Keyframe (January 10, 2014)

Risselada, Brian, Josh Ryan and Max Slobodin. "Shane Carruth." Syndromes and a Cinema #6 (December 8, 2013) ["... the films of Shane Carruth, an American director who also wrote, produced, edited, composed the score for, and acted in both of his two films Primer (2004) and Upstream Color (2013)."]

Risselada, Brian and Josh Ryan. "Miklós Jancsó." Syndromes and a Century #7 (February 13, 2014) ["... the films of acclaimed Hungarian director Miklós Jancsó who passed away on January 31, 2014 at the age of 92. In particular we look at his films My Way Home (1964), The Round-Up (1965) and The Red and the White (1967)."]

Tupitsyn, Masha. "On Robert Bresson." Necessary Fiction (January 8, 2014)

Clark, Ashley. "An Oversimplification of Her Beauty: A dazzling, deliquescent, take-this-heart love movie." Sight and Sound (March 2014)

Cutler, Aaron. "Film Noir: An Interview with Imogen Sara Smith." The Moviegoer (December 20, 2013)

Walters, Ben. "Stranger By the Lake - Lakeside cruising and what lies beneath: a spellbinding erotic mystery from French writer-director Alain Guiraudie." Sight and Sound (March 2014)