Saturday, November 18, 2017

ENG 281/282: Thinking About Films & 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 WattsThe 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 AlighieriDivine 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)

DialogicResources 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)

“Point of view is usually only conspicuous when it is oppositional. The dominant, prevailing point of view remains invisible or apparently neutral and objective” (14) -- Sally Potter in "The Prospects for Political Cinema Today" Cineaste 37.1 (2011): 6-17.

Science/Technology (Ongoing Archive)

All Watched Over By Machines of Loving Grace (United Kingdom: Adam Curtis, 2011) ["A series of films about how humans have been colonized by the machines they have built. Although we don’t realize it, the way we see everything in the world today is through the eyes of the computers. It claims that computers have failed to liberate us and instead have distorted and simplified our view of the world around us."]

Anderson, C. W. "Print Culture 101: A Cheat Sheet and Syllabus." The Atlantic (August 18, 2010)

Andrejevic, Mark. "Estrangement 2.0." World Picture #6 (Winter 2011)

Angier, Natalie. "Abstract Thoughts? The Body Takes Them Literally." The New York Times (February 2, 2010)

Arrington, J. Michael and David Kirkpatrick. "The Facebook Effect." FORA TV (June 23, 2010)

Ayers, Jane. "300,000 Organic Farmers Sue Monsanto in Federal Court." Reader Supported News (February 15, 2012)

"The Being Deaf Show." RE:SOUND (2007)

Benjamin, Medea and Trevor Timm. "Drone Summit: Killing and Spying by Remote Control." Law and Disorder (July 9, 2012)

Bergen, Benjamin K. "The New Science of Meaning." Huffington Post (December 11, 2012)

Berger, John J. Climate Myths: The Campaign Against Climate Science. Berkeley, CA: Northbrae Books, 2013. [Available in the BCTC Library]

Bigger Stronger Faster (USA: Christopher Bell, 2008)





Binney, William. "Growing State Surveillance." Democracy Now (April 20, 2012)

Bittman, Mark. "That Flawed Stanford Study." Opiniator (October 2, 2012)

Blakemore, Colin. "Mechanics of the Mind." The Reith Lecture (November 10 - December 15, 1976)

Blase, Martin. "Missing Microbes." Radio West (April 28, 2014) ["Your body is host to about 100 trillion bacterial cells that form your microbiome, the complex ecosystem of microorganisms on which your life depends. Today, our microbiomes are threatened by a loss of species diversity that could be our undoing. In a new book, Dr. Martin Blaser argues that our obsession with hygiene and overuse of antibiotics has bleached our microbiomes, making them weak and making us more susceptible to dangerous new diseases."]

Chester, Jeff. "The End of the Internet." Uprising Radio (February 9, 2006)

Christensen, Villy, Reg Waatson and Siwa Msangi. "Will There Be Any Fish in 2050." (February 26, 2011)

Chutkan, Robynne. "The Future of Probiotics." The Atlantic (December 12, 2013) ["Hippocrates said that all disease begins in the gut. A gastroenterologist's predictions on how new treatments will begin there, too."]

Clausen, Amy. "Women and Skepticism" The F Word (December 17, 2009)

Critical Art Ensemble. BioCom. (Online art installation: 1997/1998)

"Critical Art Ensemble: When Thought Becomes Crime." Dialogic (October 5, 2005)

Crockford, Kade. "San Francisco Woman Pulled Out of Car at Gunpoint Because of License Plate Reader Error." Free Future (May 13, 2014)

Crump, Catherine and Davey D. "Bay Area Rapid Transit Accused of Censorship for Blocking Wireless Services to Foil Protests." Democracy Now (August 16, 2011)

Datta, Deblina, et al. "Guard Us All? Immigrant Women and the HPV Vaccine." Making Contact (July 29, 2009)

Debusmann, Bernd. "America's Problematic Remote Control Wars." Reuters (July 8, 2011)

Dershowitz, Alan, Glenn Greenwald, Michael Hayden and Alexis Ohanian. "Glenn Greenwald Debates Former NSA Director Michael Hayden." The Intercept (May 2, 2014)

"Disguised Member of Hacktivist Group "Anonymous" Defends Retaliatory Action Against BART." Democracy Now (August 16, 2011)

Doctorow, Cory. "The Coming Civil War Over General Purpose Computation." Craphound (August 5, 2012)

Drone Survival Guide [Website: "Our ancestors could spot natural predators from far by their silhouettes. Are we equally aware of the predators in the present-day? Drones are remote-controlled planes that can be used for anything from surveillance and deadly force, to rescue operations and scientific research. Most drones are used today by military powers for remote-controlled surveillance and attack, and their numbers are growing. The Federal Aviation Administration (FAA) predicted in 2012 that within 20 years there could be as many as 30.000 drones flying over U.S. Soil alone. As robotic birds will become commonplace in the near future, we should be prepared to identify them. This survival guide is an attempt to familiarise ourselves and future generations, with a changing technological environment. This document contains the silhouettes of the most common drone species used today and in the near future. Each indicating nationality and whether they are used for surveillance only or for deadly force. All drones are drawn in scale for size indication. From the smallest consumer drones measuring less than 1 meter, up to the Global Hawk measuring 39,9 meter in length."]

Dunning, Brian. "New Age Energy: An examination of energy, as New Agers use the term." Skeptoid #1 (October 3, 2006)

Earle, Sylvia. "Her Deepness." On Being (June 7, 2012) ["Sylvia Earle has done something no one else has — walked solo on the bottom of the sea, under a quarter mile of water. She tells what she saw — and what she has learned — about the giant, living system that is the ocean. And, she explains why seeing a shark is a sign for hope."]

"Eight Ways Monsanto Fails at Sustainable Agriculture." Union of Concerned Scientists (January 4, 2012)

Engelhardt, Tom. "Praying at the Church of St. Drone: The President and His Apostles." Tom Dispatch (June 5, 2012)

Franklin, Sarah. "Transbiology: A Feminist Cultural Account of Being After IVF." Scholar and Feminist Online 9.1/9.2 (Fall 2010 - Spring 2011)

Fry, Douglas P. "Peace in Our Time: Steven Pinker offers a curiously foreshortened account of humanity's irenic urges." Bookforum (December/January 2012)

"Global Warming." History Commons (Ongoing Historical Timeline)

Goldenberg, Suzanne. "Emails expose BP's attempts to control research into impact of Gulf oil spill." The Guardian (April 15, 2012)

Graeber, David. "On Bureaucratic Technologies and the Future as Dream-Time." School of Visual Arts (January 19, 2012)

Greene, Robyn. "Even Your Avatar Can't Escape NSA Surveillance." ACLU (December 12, 2013)

Grosscup, Beau. "Cluster Munitions and State Terrorism." Monthly Review 62.11 (April 1, 2011)

Hauter, Wenonah. "Foodopoly: The Battle Over the Future of Food and Farming in America from Monsanto to Wal-Mart." Democracy Now (April 2, 2013)

Hauter, Wenonah and Gregory Jaffe. "The Monsanto Protection Act? A Debate on Controversial New Measure Over Genetically Modified Crops." Democracy Now (April 2, 2013)

Holland, Joshua. "A Primer: Just What Is Net Neutrality — and Why All the Fuss?" Moyers & Co (May 2, 2014)

Hounsell, Steve. "Biodiversity Primer." Alternatives (November 24, 2010)

"How To Think About Science, Parts 1 - 24." Ideas (January 2, 2012)

Human Resources: Social Engineering in the 20th Century (USA: Scott Noble, 2011: 119 mins) ["Human Resources — Social Engineering in the 20th Century is about the rise of mechanistic philosophy and the exploitation of human beings under modern hierarchical systems. The film captures how humans are regarded as a resource by corporations—something to be exploited for pecuniary gain—by following the history of psychological experiments in behaviour modification, conditioning and mind control; applying the outcomes to modern day establishment experiments such as institutionalised education, military training, and social engineering by way of things like television…"]

Into Eternity Making Contact (March 18, 2014) ["Our world is generating more and more nuclear waste, but have no permanent place to dispose of it. But the nation of Finland has a plan. They’re building an underground cave, to hold thousands of tones of nuclear waste, for at least 100 thousand years. On this edition, we hear excerpts of the film, “Into Eternity”, which explores the logistical and philosophical quandaries around the construction of something that if it works, might very well outlast the entire human race."]


Ire, Polite. "Gender Inequality and Gender Differences." Libcom (March 13, 2012) 

"Kill 'em All." Radiolab (March 25, 2014) ["Ever since there have been humans, mosquitoes have been biting us, and we’ve been trying to kill them. And, for the most part, the mosquitoes have been winning. Today there are over 3000 species on pretty much every corner of Earth. Mosquito-borne diseases kill around 1 million people a year (most of them children) and make more than 500 million people sick. But thanks to Hadyn Perry and his team of scientists, that might be about to change. Producer Andy Mills talks with author Sonia Shah about the difficulties of sharing a planet with mosquitoes and with science writer David Quammen about the risks of getting rid of them."]

Lakoff, George. "How to Use the Language of “Systemic Causation” To Talk About Climate Change." Uprising Radio (November 1, 2012)

McCormick, John P. "Carl Schmitt and Technology." Cultural Technologies #8 ("John P. McCormick, author of CARL SCHMITT'S CRITIQUE OF LIBERALISM: AGAINST POLITICS AS TECHNOLOGY, discusses renowned political theorist and fascist Carl Schmitt's troubling critique of liberal politics. We also discuss technology, Martin Heidegger, the Weimar Republic, Catholicism, Marxism, and why climate change can't be solved by a czar."]

McNair, James. "Drug Company Lobbying Has Doubled in Kentucky in Recent Years." Kentucky Center for Investigative Lobbying (February 24, 2016)

Miller, Anna Lekas. "Occupy vs. Monsanto: Activists, Farmers Fight the Corporation They Fear Will Take Over All America's Crops." AlterNet (February 6, 2012)

Pangburn, D.J. "These Short Online Psychedelic Courses Will Bend Your Mind." Motherboard (April 16, 2014)

Perkowitz, Sidney. "Removing Humans from the AI Loop — Should We Panic?" The Los Angeles Review of Books (February 18, 2016)

Popova, Maria. "What Is Science? From Feynman to Sagan to Asimov to Curie, an Omnibus of Definitions." Brain Pickings (April 6, 2012)

Reyes, Oscar and Tamra Gilbertson. "Carbon Trading: How it Works and Why it Fails." New Left Project (December 18, 2010)

Rosenzweig, Roy. "Wizards, Bureaucrats, Warriors, and Hackers: Writing the History of the Internet." The American Historical Review (December 1998: 1530-1552)

Ross, Alec. "Innovations of the Future." London School of Economics & Political Science (February 22, 2016) ["While Alec Ross was working as Senior Advisor for Innovation to the Secretary of State, he travelled to forty-one countries, exploring the latest advances coming out of every continent. From startup hubs in Kenya to R&D labs in South Korea, Ross has seen what the future holds. In this lecture he reveals the innovations that will shape our world for the better between today and 2025."]

Schlosser, Eric. "Command and Control: Nuclear Weapons, the Damascus Accident, and the Illusion of Safety." Book TV (October 6, 2013) ["Using recently declassified documents, Eric Schlosser details the ease with which an accident can occur when handling nuclear weapons and how little control military leaders and missile designers have over them. He speaks with Lynn Davis, the former U.S. undersecretary for arms control and the director of the RAND corporation's Washington office."]

Schneier, Bruce, et al. "The Psychology of Transition: Undoing Millennia of Social Control." Unwelcome Guests #597 (March 31, 2012)

Seafood Watch [California: "The Monterey Bay Aquarium Seafood Watch program helps consumers and businesses make choices for healthy oceans. Our recommendations indicate which seafood items are "Best Choices," "Good Alternatives," and which ones you should "Avoid." Seafood Watch raises consumer awareness through our pocket guides, website, mobile applications and outreach efforts. We encourage restaurants, distributors and seafood purveyors to purchase from sustainable sources. Seafood Watch recommendations are science-based, peer reviewed, and use ecosystem-based criteria. Since 1999, we've distributed tens of millions of pocket guides, our iPhone application has been downloaded more than 240,000 times, and we have close to 200 partners across North America, including the two largest food service companies in the U.S.]

Shaw, John. "The problem of the poor: faith, science and poverty in 19th century Britain." The National Archives Podcast Series (September 28, 2006)

Shiva, Vandana. Environmentalism/Science/Philosophy/Feminism/Bioethics Dialogic Cinephilia (Ongoing Archive)

Sifton, John. "A Brief History of Drones." The Nation (February 27, 2012)

Singer, Peter W. "On Drone Warfare." War News Radio (July 13, 2011)

---. "Wired for War." The Geek's Guide to the Galaxy #3 (July 18, 2011)

Sterling, Bruce. The Hacker Crackdown: Law and Disorder on the Electronic Frontier (1992)

Stiglitz, Joseph. "How Intellectual Property Reinforces Inequality." Opinionator (July 14, 2013)

Suzuki, David. "On the Environment with a Focus on Climate Change." Lannan Podcasts (November 13, 2012)

Tokar, Brian. "Genetic Engineering." Unwelcome Guests (March 22, 2000)

Townson, Sian. "Why people fall for pseudoscience (and how academics can fight back)." The Guardian (January 26, 2016)

Washington, Harriet. ""Deadly Monopolies": ... How Firms are Taking Over Life Itself." Democracy Now (October 31, 2011)

Warner, Melanie. "Pandora’s Lunchbox: Pulling Back the Curtain On How Processed Food Took Over the American Meal." Democracy Now (March 1, 2013)

Watson, Richard. "Future Minds." RSAnimate (October 26, 2010)

Wolchover, Natalie. "A New Physics Theory of Life" Quanta (January 22, 2014)

The World According to Monsanto (France/Canada/Germany: Marie-Monique Robin, 2008: 108 mins)

Wu, Timothy. "The Master Switch: The Rise and Fall of Information Empires." The Center of Internet and Society (May 15, 2011)

---. "On the Archetype of the Heroic Inventor." (Excerpt from the The Master Switch: The Rise and Fall of Information Empires. NY: Alfred A, Knopf, 2010: 18-20.)

Zakaria, Fareed. "Why America's Obsession with STEM Education is Dangerous." The Washington Post (March 26, 2015)

Zaroff, Larry. "Medicine and the Human Condition." Entitled Opinions (November 23, 2011)

Friday, November 17, 2017

Dialogic Cinephilia - November 17, 2017

Aquino, Rowena Santos. "The (Ir)reality of Images and Words in Hong Sang-soo’s Claire’s Camera (2017) and The Day After (2017)." VCinema (November 16, 2017)

Dry, Jude. "195 Lewis Explores Polyamory With the Style of a Lesbian ‘Insecure.'" Indiewire (November 16, 2017)





Heenan, Natasha. "Sylvia Federici's Caliban and the Witch." Progress in Political Economy (November 6, 2017) [You can read the book online here]

Heller, Jason. "Charlotte Gainsbourg's Rest." First Listen (November 13, 2017)

Howard, Kate. "Feds To Louisville: Prove You’re Not A ‘Sanctuary City.’" Kentucky Center for Investigative Reporting (November 15, 2017)

Lauer, Josh. "Credit Agencies and the Commodification of Personal Information." Against the Grain (October 2, 2017) ["If you think the collection and selling of personal data began in the last twenty years, think again. Consumer credit agencies like Equifax have been gathering information about people’s intimate details since they were created in the late 19th century. Scholar Josh Lauer discusses the history of credit agencies, their key role in capitalist consumer culture, and why we shouldn’t expect them to look out for consumers."]

Scurry, Bill. "In Praise of Indie Icon John Sayles." Wrong Reel  (September 2017)





Thompson, Anne. "Is Errol Morris’s ‘Wormwood’ a Documentary? Netflix Says Yes, Oscars Say No." Indiewire (November 16, 2017)

West, Stephen. "The Frankfurt School - Introduction." Philosophize This #108 (August 17, 2017) ["The Frankfurt School, also known as the Institute of Social Research (Institut für Sozialforschung), is a social and political philosophical movement of thought located in Frankfurt am Main, Germany. It is the original source of what is known as Critical Theory. The Institute was founded, thanks to a donation by Felix Weil in 1923, with the aim of developing Marxist studies in Germany. The Institute eventually generated a specific school of thought after 1933 when the Nazis forced it to close and move to the United States, where it found hospitality at Columbia University, New York."]

---. "The Frankfurt School (Part 2) - The Enlightenment." Philosophize This #109 (August 26, 2017)

---. "The Frankfurt School (Part 3) - The Culture Industry." Philosophize This #110 (September 7, 2017)

---. "The Frankfurt School (Part 4) - Eros." Philosophize This #111 (October 20, 2017)

---. "The Frankfurt School (Part 5) - Civilization." Philosophize This #112 (November 6, 2017)


Thursday, November 16, 2017

Dialogic Cinephilia - November 16, 2017

"Being John Malkovich (1999)." Philosophical Films (ND)

Berg, Jeff. "The Logic of Drug Legalization." Counterpunch (November 15, 2017)

Berkshire, Jennifer, Adam Johnson and Nima Shirazi. "The Charter School Scam." Citations Needed #1 (July 12, 2017) ["... the media hype surrounding the privatization of education."]

Cargill, Robert C. and Brian Salisbury. "Spice World." Junk Food Cinema (November 8, 2015) ["Brian & Cargill tell you why you want why you really really want to revisit Spice World. No, we’re not kidding. The guys’ two minds become one as they explain the exceptional satire of this bugnuts vehicle for Britain’s premier girl group of the late 90s. They touch upon the self-effacing humor, the cavalcade of cameos, and why Spice World at least belongs in the same conversation as Purple Rain and A Hard Day’s Night."]

Castro, Joy. "'A Place Without Parents': Queer and Maternal Desire in the Films of Christian Petzold." Senses of Cinema #84 (September 2017)

Cohen, Jeff. "Edward Herman: Master of Dissent (1925 - 2017)." FAIR (November 14, 2017)

Flores, Steven. "The Auteurs: Pedro Almodovar (Part 1)." Cinema Axis (September 29, 2014)

---. "The Auteurs: Pedro Almodovar (Part 2)." Cinema Axis (October 6, 2014)








Hancock, James and Mackenzie Lambert. "The High-Octane Cinema of Enzo G. Castellari." Wrong Reel #338 (November 2017)

Henderson, A. Gwynn. "The Myth of Kentucky as a 'Dark and Bloody Ground.'" 30 Days of Kentucky Archaeology (September 29, 2017)

Holloway, Lisa. "Meeks Cutoff (2010): The unheightened moment; taking aim at the male gaze." Auteuse Theory (June 28, 2016)


Hughes, Darren. "'There are Miracles': A Conversation with Hong Sang-Soo." Notebook (November 15, 2017)

Pizarro, Dave, et al. "Situationism in Psych: Milgram & Stanford Prison Experiments (Part One)." Philosophize This (November 6, 2017) ["Do difficult situations make good people act badly? Are there really "good" and "bad" people, or are we all about the same, but put in different situations? Situationism is supported by Milgram's experiment, where most subjects could be easily pressured into delivering shocks to an innocent person (really an actor… punked!). A more immersive example was provided by The Stanford Prison Experiment, where students took on the roles of guard and prisoner, and quickly became sadistic and passive respectively. John Doris argues that situationism is a direct attack on virtue ethics, that really there is no such thing as a virtue like "bravery" or "generosity" that cuts across all sorts of situations. While there are of course consistent personality traits, these don't map against the virtues as depicted by Aristotle and our common cultural notions. Rather, they're more context-dependent, specific to certain types of situations."]

---. "Situationism in Psych: Milgram & Stanford Prison Experiments (Part Two)." Philosophize This (November 13, 2017) ["Continuing with Dave Pizarro on articles by Stanley Milgram, Philip Zimbardo, and John Doris about situationism, which entails that people's level of morality will vary by situation, as opposed to virtue ethics, which posits that how people will act in a novel situation will be determined by the quality of their character. We get into Doris's article, "Persons, Situations, and Virtue Ethics" (1998), where he argues against the traditional idea that we have virtues like "honesty." Instead, these traits are more situation-specific, so even someone who doesn't cheat on his or her taxes or spouse might well still steal candy. Doris sites a 1975 study by Levin and Isen where people who found a (planted) dime in a phone booth were much more likely to then help someone who dropped some papers as the subject was leaving the booth. Does this really show that helpfulness isn't a stable virtue in people, or is something else going on here and in Milgram's experiment? Does situationism excuse bad behavior? Would any one of us do just what most the citizens of Germany did during the Nazi regime if we were in that situation? Can we maybe train ourselves to better resist social pressure, not just in specific situations we've rehearsed in advance, but across the board?"]

Raven, Chantelle. "Relationship Is Your Great Teacher: 16 Keys for Healthy, Juicy and Authentic Relationships." Eliyah (October 19, 2017)












Podcasts/Videocasts (Ongoing Archive)



Against the Grain (October 9, 2017)

Book vs Movie (November 17, 2017)

Breaking the Glass Slipper  (November 9, 2017)

Building Bridges Radio (Latest)

The Cinematologists (September 16, 2017)

Citations Needed (2)

The Close-Up (September 20, 2017)

Common Sense with Dan Carlin (Latest)

Democracy Now (Latest)

Director's Club (123)

DP 30: An Oral History of Hollywood (Latest)

Faculty of Horror (51)

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