Monday, July 24, 2017

The Beguiled (USA: Sofia Coppola, 2017)




The Beguiled (USA: Sofia Coppola, 2017: 94 mins)

I really enjoyed Sofia Coppola’s THE BEGUILED (even if it's not my favorite of her films: that would be THE BLING RING)—and would love to hear what others thought of it. A few observations: (1) The best thing about the whole experience is the very radical and productive contrast with the 1971 original (by Don Siegel, with Clint Eastwood). Each film would be diminished without the other. While the Siegel is pulpy, feverish, expressionist, the Coppola is sly, calm, detailed, precisely controlled; (3) J. Hoberman is right in calling the Coppola a “dark comedy of manners”—although he’s wrong in claiming that the Siegel original is unqualifiedly misogynistic (it’s a more ambiguous and complicated film than that); (4) The host of detail that Coppola carefully builds up in order to signify refinement, containment, and repression (from the high-necked dresses to the French and music lessons, penmanship, embroidery, and all the period décor—so much of this rendered in close-ups of surfaces) is wonderful—and too easily overlooked/underappreciated; (5) The “whitewashing” of the new film (by omitting the fiery character of Hallie, the slave) is unfortunate, disappointing, unforgivable—but I’m not ready to write off/dismiss the entire film because of it…. -- Girish Shambu (Posted on Facebook: July 10, 2017)

The Beguiled Critics Round Up (Ongoing Archive)

Bunch, Sonny. "Of course Sofia Coppola’s The Beguiled differs from the original. That’s what makes it great." The Washington Post (July 6, 2017)

Coppola, Sofia. "Sofia Coppola Responds to The Beguiled Backlash — Exclusive." IndieWire (July 15, 2017)

Ferdinand, Marilyn. "The Beguiled (2017)." Ferdy on Films (July 9, 2017)

Huber, Sam. "Yawn with the Wind." The Los Angeles Review of Books (July 14, 2017)

Hudson, David. "Cannes 2017: Sofia Coppola's The Beguiled." Current (May 24, 2017)

Lennon, Elaine. "Sofia Coppola: A Cinema of Girlhood." Offscreen 21.6 (June 2017)
Moore, Booth. The Story Behind the Sweet (and Sinister) Costumes in Sofia Coppola's The Beguiled." The Hollywood Reporter (June 15, 2017)

Morgan, Kim. "Sofia Coppola's The Beguiled." Sunset Gun (June 15, 2017)

Rao, Sonia. "Sofia Coppola’s The Beguiled criticized for leaving out a slave narrative from the Confederate South." The Washington Post (June 22, 2017)

Rickey, Carrie. "Sofia Coppola’s The Beguiled: Why Some Critics Brought Out the Knives." IndieWire (July 14, 2017)

Rogers, Anna. "Great Directors: Sofia Coppola." Senses of Cinema (November 2007)

Scholes, Lucy. "The Beguiled." Another Gaze (July 19, 2017)

Scott, A.O. "The Beguiled, Sofia Coppola's Civil War Cocoon." The New York Times (June 22, 2017)

Sims, David. "The Beguiled is a Steamy but Restrained Thriller." The Atlantic (June 23, 2017)



































Tuesday, June 20, 2017

American Honey (UK/USA: Andrea Arnold, 2016)




American Honey  (UK/USA: Andrea Arnold, 2016: 163 mins)

American Honey Critics Round Up (Ongoing Archive)

Anderson, Barry, et al. "The Andrea Arnold Connection (2006 - 2016)." Illusion Travels by Streetcar #131 (January 4, 2017)

Arnold, Andrea. "American Honey." IndieWire Filmmaker Toolkit (September 2016)

---. "On American Honey and Preserving Mystery in Film." Fresh Air (September 29, 2016)

Brody, Richard. "American Honey's Silent Youth." The New Yorker (October 5, 2016)

Chang, Justin. "Andrea Arnold's American Honey is an Indelible Epic of the Open Road." The Los Angeles Times (September 29, 2016)

Gleiberman, Owen. "What American Honey Catches (Beautifully) About the Kids: They’re Not All Right." Variety (October 23, 2016)

Kermode, Mark. "American Honey: A Magical Mystery Tour of the US." The Guardian (October 16, 2016)

Koski, Genevieve, et al. "My Own Private Idaho / American Honey (Pt. 1)." The Next Picture Show #49 (November 1, 2016)  ["This week, we’ve all come to look for America, and we’re looking for it in a pair of road movies about underprivileged outsiders and the dreams that keep them hustling from place to place. Inspired by Andrea Arnold's sprawling new AMERICAN HONEY, we look back at Gus Van Sant's 1991 indie-punk-surrealist-fantasy-coming-of-age mishmash MY OWN PRIVATE IDAHO. In this half, we attempt to wrangle IDAHO's many moving parts, admire and mourn its central performances, and share some crazy (or not so crazy??) fan theories."]

---. "My Own Private Idaho / American Honey (Pt. 2)." The Next Picture Show #50 (November 3, 2016) ["We return to the road in our two-part exploration of America and self, jumping to the current day with Andrea Arnold's sprawling, music-packed AMERICAN HONEY, a film with some of the same concerns as MY OWN PRIVATE IDAHO, but a much different stylistic approach. In this half, we talk over how the two films handle matters of poverty, style, infatuation, and "the other America."]

McGoff, Jessica. "Andrea Arnold's Women in Landscapes." (Posted on Vimeo: September 2016)

Robey, Tim. "American Honey - Shia LaBeouf has never looked worse or acted better." The Telegraph (October 13, 2016)

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

Sims, David. "American Honey is a New Indie Classic." The Atlantic (September 29, 2016)

Suzanne-Mayer, Dominick. "American Honey: Andrea Arnold's Tale of Wandering Youth is Striking and Immediate." Consequence of Sound (September 28, 2016)

Tallerico, Brian. "American Honey." Roger Ebert (September 30, 2016)

Whitehouse, Matthew. "Andrea Arnold: How We Cast American Honey." i-D (October 17, 2016)












The Fits (USA: Anna Rose Holmer, 2015)




The Fits (USA: Anna Rose Holmer, 2015: 72 mins)

Dargis, Manohla. "In The Fits, A Graceful Tale of a Girl Who Follows Her Own Beat." The New York Times (June 2, 2016)

Davis, Saela, et al. "The Fits and The Witness." The Close-Up (June 1, 2016) 

DiRosso, Jason. "The Fits - review and interview with director Anna Rose Homer." The Final Cut (May 20, 2016)

Esposito, Scott. "Some Thoughts on Anna Rose Holmer's The Fits." Conversational Reading (May 29, 2017)

The Fits Critics Round Up (Ongoing Archive)

"The Fits (Anna Rose Holmer interview) // Andrzej Zulawski's Cosmos." The Playlist (July 2016)

Judah, Tara. "The Fits: Gender, Sports, and Stereotypes - Standing Out and Fitting In." BFI (February 27, 2017) ["An 11-year-old girl toys with swapping rounds in the ring for synchonised dancing in Anna Rose Holmer’s debut film, which explores how our ideas of our gender are formed as we grow up."]

Kempenaar, Adam and Josh Larsen. "2016 Golden Brock Preview Special." Filmspotting (November 17, 2016)

Lizmchege. "The Fits : A coming of age meditation on belonging and Black female freedom." Come the Revolution (March 16, 2017)

McAmis, John. "The Fits (2016) by Anna Rose Holmer." The Cinematary (August 12, 2016)

Schager, Nick. "Sundance Review: The Fits." Variety (January 19, 2016)

White, Patricia. "Bodies That Matter: Black Girlhood in The Fits." Film Quarterly 70.3 (Spring 2017)





















Monday, June 19, 2017

Beyoncé: Formation (USA: Melina Matsoukas, 2016)




Beyoncé: Formation (USA: Melina Matsoukas, 2016: 5 mins)

Barco, Mandelit del and dream hampton. "Beyoncé's Formation is a Visual Anthem." All Things Considered (February 8, 2016)

Choi, Hannah and Leah Donnella. "Not Ready To Stop Obsessing Over Beyoncé And Formation? We Got You." Code Switch (February 9, 2016)

Ghogomu, Mbiyimoh. "Dear Black America, Please Quit Giving Beyoncé a Pass on Formation." The Higher Learning (February 19, 2016)

Guo, Jeff. "The strange contradiction in Beyoncé’s new song Formation." Wonkblog (February 9, 2016)

Hobson, Janell. "Visualizing Music: Representing Black Culture, Community, And Politics." AAIHS (February 16, 2016)

Harris, Brandon. "Here's the Problem with Beyonce's Formation Video." IndieWire (February 13, 2016)

hooks, bell. Black Looks: Race and Representation. South End Press, 1992.

Jouelzy. "Cultural References and Critique of Beyoncé's Formation." (February 11, 2016)

Lewis, Shantrelle. "Formation Exploits New Orleans' Trauma." Doublex (February 10, 2016)

McFadden, Syreeta. "Beyoncé's Formation reclaims black America's narrative from the margins." The Guardian (February 8, 2016)

Menne, Jeff. "Post Fergusson Hollywood." Jump Cut #57 (Fall 2016)






Sunday, June 18, 2017

Wuthering Heights (UK: Andrea Arnold, 2011)




Wuthering Heights (UK: Andrea Arnold, 2011: 129 mins)

Anderson, Barry, et al. "The Andrea Arnold Connection (2006 - 2016)." Illusion Travels by Streetcar #131 (January 4, 2017)
Film Scalpel. "Wuthering Heights: A Musical." (April 4, 2016)

Gilbert, Andrew. "Empty Hearths: Andrea Arnold’s Wuthering Heights." cléo 1.2 (July 25, 2013)

Gilmore, James and J.M. Olejarz. "Two Perspectives on Andrea Arnold's Wuthering Heights." Mediascape (October 12, 2012)

Lenten, Jessica. "Phenomenology and the films of Andrea Arnold." Real/Reel (August 1, 2012)

McGoff, Jessica. "Andrea Arnold’s Women in Landscapes: What does loneliness look like?" (Posted on Vimeo: August 2016)

Onanuga, Tola. "Wuthering Heights realises Brontë's vision with its dark-skinned Heathcliff." The Guardian (October 21, 2011)

Parker, Ben. "Wuthering Heights on Screen." Film Comment (February 22, 2017)

Prose, Francine. "The Taming of Wuthering Heights." The New York Review of Books (October 24, 2012)

Tafoya, Scout. "The Post-Punk Cinema Manifesto - Side A." (Posted on Vimeo: February 2017)

---. "The Post-Punk Cinema Manifesto - Side B." (Posted on Vimeo: February 2017)














Point Break (USA: Kathryn Bigelow, 1991)




Point Break (USA: Kathryn Bigelow, 1991: 120 mins)

Buckler, Dana. "Point Break (1991)." H.I.T.M? (August 9, 2016)

Cone, Stephen. "Why Point Break Still Delivers 25 Years On." Talk House (July 26, 2016)

Cumbow, Robert C. "Summer of '91: Kathryn Bigelow's Point Break." The House Next Door (July 13, 2016)

Ebert, Roger. "Point Break." Chicago Sun-Times (July 12, 1991)

Engle, John. "August and Everything After: A Half-Century of Surfing in Cinema." Bright Lights Film Journal #80 (May 2013)

Manzi, Anthony. "Point 'Heart' Break, or: Why Bodhi and Johnny Utah Just Want to Bang Each Other." Reel 3 (February 12, 2014)

Ogundare, Tope. "Male Love Through Female Eyes - Five films about men, each directed by a woman. What do we learn?" (Posted on Vimeo: 2016)

Page, Priscilla. "Point Break: Kathryn Bigelow's Subversive Surf Western." Birth. Movies. Death. (April 12, 2017)

Tobias, Scott. "The New Cult Canon: Point Break." The A.V. Club (December 23, 2010)















Saturday, June 17, 2017

The Piano (Australia/New Zealand/France: Jane Campion, 1993)




The Piano (Australia/New Zealand/France: Jane Campion, 1993: 121 mins)

Baughan, Nikki. "Where to Begin with Jane Campion." Sight and Sound (May 3, 2016)

Bihlmeyer, Jaime. "Jane Campion's The Piano: The Female Gaze, the Speculum and the Chora within the H(y)st(e)rical Film." Essays in Philosophy 4.1 (June 2002)

Bird, Carmel. "The Piano: An Essay on Jane Campion's Film, Pt. 1." and Part Two (ND)

DuPuis, Reshela. "Romanticizing Colonialism: Power and Pleasure in Jane Campion's The Piano." The Contemporary Pacific 8.1 (Spring 1996): 51 - 79.

Ebert, Roger. "The Piano." Chicago Sun-Times (November 19, 1993)

Hopgood, Fincina. "Great Directors: Jane Campion." Senses of Cinema #22 (October 2002)

Klinger, Barbara. "The Art Film, Affect and the Female Viewer: The Piano Revisited." Screen 47.1 (2006): 19-41.

Kuersten, Erich. "CinemArchetype #3: The Animus." Acidemic (February 1, 2012)

Nelmes, Jill. "Case Study: The Piano (Jane Campion, 1993)." Routledge (ND)

Sobchack, Vivian. "What My Fingers Knew: The Cinesthetic Subject, or Vision in the Flesh." Senses of Cinema (April 2000)

Tims, Anna. "How we made: Michael Nyman and Jane Campion on The Piano." The Guardian (July 30, 2012)

Williams, Donald. "The Piano: The Isolated, Constricted Self." The Jung Page (October 27, 2013)











Thursday, June 15, 2017

Slurring Bee 3

Also need 15 absurd/quirky warm up questions

1st Round: warm-up question followed by a word
2nd Round: 3 words in succession for each contestant
3rd Round: Round-robin until we have a winner (keep track of last three - the order they come in)
3 mispelled words and a contestant is out

Pronouncer Information 1. Read carefully the Judges, Recorders, Spellers and Audiences information that is included in the Scripps pronouncers’ guide. 2. Familiarize yourself with all words on the confidential word list. Pronunciation is important. A meeting with the judges to insure pronunciation of words and procedures will be scheduled prior to the Bee beginning. 3. Speak clearly for contestants, judges and audience alike. Grant all requests to repeat a word until the judges agree that the word has been made reasonably clear to the speller. You may request the speller to speak more clearly or louder. 4. “Pace” yourself. You need time to focus attention on the pronunciation of the new word and the judges need a few moments between each contestant to do their tasks.

Speller’s Information 1. Each speller needs to focus on the Pronouncer, to aid his or her hearing and understanding of the context of the word. A speller may ask for the word to be repeated, for its use in a sentence, for a definition, for the part of speech, and for the language of origin. 2. Each speller should pronounce the word before and after spelling it. If the speller fails to pronounce the word after spelling it, the judge may ask if they are finished. If they say yes, the judge will remind the speller to remember to repeat the word the next time. (No speller will be eliminated for failing to pronounce a word.) 3. When a speller is at the podium spelling, the next speller should be standing at a marked location ready to proceed to the podium.

94) acerbic

95) nudnik

96) malleable

97) termagant

98) oeuvre

99) inanition

100) curtilage

101) hypothesis

102) autonomy

103) abdicate

104) slough

105) valedictory

106) nemophilist

107) penultimate

108) semblance

109) dilemma

110) catercorner

111) apartheid

112) soteriology

113) incoherent

114) oracular

115) alopecia

116) flibbertigibbet

117) supererogatory

118) ashwagandha

119) castigate

120) proximity

121) squinny

122) amalgamation

123) plagiarism

124) loquacious

125) foibel

126) moue






•  - See more at: http://www.justinrudd.com/adultbee.html#sthash.GXK6LRjc.dpuf

on 139 https://www.vocabulary.com/lists/144082

http://glowrockport.com/words.pdf

http://www.nationalseniorspellingbee.com/

Monday, June 12, 2017

Phoenix (Germany/Poland: Christian Petzold, 2014)




Phoenix (Germany/Poland: Christian Petzold, 2014: 98 mins)

Abel, Marco. "The Cinema of Identification Gets on my Nerves: An Interview with Christian Petzold." Cineaste (2008)

Dowd, A.A. "Phoenix is a postwar Vertigo, a noir psychodrama for the ages." AV Club (July 23, 2015)

Fisher, Jaimey. "Great Directors: Christian Petzold." Senses of Cinema #67 (July 2013)

Hoberman, J. "Jewish Eyes Without a Face Haunt Christian Petzold’s Phoenix." Tablet (July 23, 2015) ["New German film is a devastating portrait of a ghostly young Eurydice, an Auschwitz survivor who refuses to stay in hell."]

Hoss, Nina and Christian Petzold. "On Phoenix." Current (April 27, 2016)

Kasman, Daniel. "Filming Around the World: A Conversation with Christian Petzold." Notebook (February 26, 2015)

Koresky, Michael. "Phoenix: Just Be Yourself." Current (April 27, 2016)

Lee, Kevin B. "Deceptive Surfaces: The brilliantly no-nonsense filmmaking of Christian Petzold." Keyframe (January 15, 2016)

Nayman, Adam. "The Face of Another: Christian Petzold's Phoenix." Cinema Scope #61 (2014)

Nehma, Farran Smith. "Conversations with Christian Petzold's Phoenix." Balder & Dash (August 11, 2015)

Newman, Nick. "Christian Petzold Talks Phoenix, Flipping the Vertigo Perspective, and Letting Go of Auteurism." Film Stage (July 30, 2015)

Paul, Jacob. "The Current Debate: Christian Petzold's Phoenix." The Notebook (April 27, 2016)

Phoenix Critics Round Up (Ongoing Archive)

Smith, Justine. "Video: Women of 2015, Trading Places." Keyframe (December 19, 2015)










Wednesday, June 7, 2017

Red (Poland/France/Switzerland: Krzysztof Kieslowski, 1994)




Red (Poland/France/Switzerland: Krzysztof Kieslowski, 1994: 99 mins)

"A Splash of Red." Current (May 8, 2014)

Bradshaw, Peter. "Three Colours Trilogy: Decoding the Blue, White and Red." The Guardian (November 10, 2011)

Cummings, Doug. "Great Directors: Krzysztof Kieslowski." Senses of Cinema #27 (July 2003)

Ebert, Roger. "Red." Chicago Sun-Times (December 2, 1994)

Evans, Georgina. "Red: A Fraternity of Strangers." Current (November 15, 2011)

Hancock, James and Aaron West. "Krzysztof Kieslowski’s Three Colors Trilogy." Wrong Reel (June 8, 2016)

Kehr, Dave. "To Save the World: Kieslowski's Three Colours Trilogy." Film Comment (November/December 1994)

Kiefer, Jonathan. "Kieslowski’s “Three Colors”: Just when it seemed that European cinema had become fossilized, the great Polish director created the slickest -- and loveliest -- concept album in art-film history." Salon (June 10, 2002)

Krzysztof Kieslowski Strictly Film School (Ongoing Archive)

Hancock, James and Aaron West. "Krzysztof Kieslowski’s Three Colors Trilogy." Wrong Reel (June 8, 2016)

Lustgarten, Abby. "10 Things I Learned: Three Colors." Current (November 29, 2011)

MacCabe, Colin. "Three Colors: A Hymn to European Cinema." Current (November 15, 2011)

McCalmont, Jonathan. "Three Colours: Red (1994) - Paths and Possibilities." Ruthless Culture (July 15, 2011)

Overstreet, Jeffrey. "#14: Three Colors Trilogy." Arts and Faith Top 100 Films (2011)

Reyland, Nicholas. "Three Colours: Shades of greatness to listen out for in Zbigniew Preisner's musical score." The Guardian (November 14, 2011)

Rosenbaum, Jonathan. "Kieslowski's Reel World." The Chicago Reader (December 15, 1994)

Sheldon, Matthew A. "Three Colors: Red (1994)." Classic Art Films (July 31, 2015)

Sigga. "Analysis of the symbolism in Kieslowski’s Three Colors: Blue, White and Red." Burusi (May 16, 2010)

"The Sonic World of Zbigniew Preisner and Krzysztof Kieślowski." Current (October 3, 2016)

Trinkle, Matt. "The Many Colors of Fate in Krzysztof Kieslowki's Three Colors Trilogy." Cinemablography (ND)
















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Monday, June 5, 2017

Slurring Bee 2


Also need 15 absurd/quirky warm up questions

Pronouncer Information 1. Read carefully the Judges, Recorders, Spellers and Audiences information that is included in the Scripps pronouncers’ guide. 2. Familiarize yourself with all words on the confidential word list. Pronunciation is important. A meeting with the judges to insure pronunciation of words and procedures will be scheduled prior to the Bee beginning. 3. Speak clearly for contestants, judges and audience alike. Grant all requests to repeat a word until the judges agree that the word has been made reasonably clear to the speller. You may request the speller to speak more clearly or louder. 4. “Pace” yourself. You need time to focus attention on the pronunciation of the new word and the judges need a few moments between each contestant to do their tasks.

Speller’s Information 1. Each speller needs to focus on the Pronouncer, to aid his or her hearing and understanding of the context of the word. A speller may ask for the word to be repeated, for its use in a sentence, for a definition, for the part of speech, and for the language of origin. 2. Each speller should pronounce the word before and after spelling it. If the speller fails to pronounce the word after spelling it, the judge may ask if they are finished. If they say yes, the judge will remind the speller to remember to repeat the word the next time. (No speller will be eliminated for failing to pronounce a word.) 3. When a speller is at the podium spelling, the next speller should be standing at a marked location ready to proceed to the podium.

47) burgeon

48) traipse

49) penchant

50)  sapiosexual

51) salmagundi

52) threnody

53) frangipani

54) pasteurization

55) contemporaneous

56) potpourri

57) oriflamme

58) philippic

59) pirouette

60) inveigh

61) ascetic

62) fuchsia

63) tourniquet

64) pergola

65) restaurateur

66) wainscoting

67) marjoram

68) avoirdupois

69) questionnaire

70) phlegm

71) dirigible

72) milieu

73) liqueur

74) acrimonious

75) chrysalis

76) myrrh

77) prepossessing

78) mayonnaise

79) hacienda

80) geranium

81) aesthetics

82) peregrinate

83) periphrasis

84) exegesis

85) hermeneutics

86) rebus

87) brachiate

88) baroque

89) lithotripsy

90) ekphrasis

91) cacography

92) hoodlum

93) syncretism


Tuesday, May 23, 2017

White (France/Poland/Switzerland: Krzysztof Kieslowski, 1994)




White (France/Poland/Switzerland: Krzysztof Kieslowski, 1994: 91 mins)

Bradshaw, Peter. "Three Colours Trilogy: Decoding the Blue, White and Red." The Guardian (November 10, 2011)

Cummings, Doug. "Great Directors: Krzysztof Kieslowski." Senses of Cinema #27 (July 2003)

Hancock, James and Aaron West. "Krzysztof Kieslowski’s Three Colors Trilogy." Wrong Reel (June 8, 2016)

Kehr, Dave. "To Save the World: Kieslowski's Three Colours Trilogy." Film Comment (November/December 1994)

Kiefer, Jonathan. "Kieslowski’s “Three Colors”: Just when it seemed that European cinema had become fossilized, the great Polish director created the slickest -- and loveliest -- concept album in art-film history." Salon (June 10, 2002)

Klawans, Stuart. "White: The Nonpolitical Reunifications of Karol Karol." Current (November 15, 2011)

Kois, Dan. "The White Stuff." Slate (November 15, 2011)

MacCabe, Colin. "Three Colors: A Hymn to European Cinema." Current (November 15, 2011)

Mooney, Darren. "Non-Review Review: Three Colours White."  The m0vie blog (November 30, 2011)

Overstreet, Jeffrey. "#14: Three Colors Trilogy." Arts and Faith Top 100 Films (2011)

Reyland, Nicholas. "Three Colours: Shades of greatness to listen out for in Zbigniew Preisner's musical score." The Guardian (November 14, 2011)

"The Sonic World of Zbigniew Preisner and Krzysztof Kieślowski." Current (October 3, 2016)

Trinkle, Matt. "The Many Colors of Fate in Krzysztof Kieslowki's Three Colors Trilogy." Cinemablography (ND)











Wednesday, May 17, 2017

The Deer Hunter (USA: Michael Cimino, 1978)




The Deer Hunter (USA: Michael Cimino, 1978: 182 mins)

Biel, Steven. "The Deer Hunter Debate: Artistic License and the Vietnam War Remembrance." Bright Lights Film Journal (July 7, 2016)

Brody, Richard. "Postscript: Michael Cimino, 1939-2016." The New Yorker (July 12, 2016)

Corruzolo, Louie. "The Legacy of The Deer Hunter." Chasing Cinema (November 11, 2012)

The Deer Hunter Critics Round Up (Ongoing Archive)

Dirks, Tim. "The Deer Hunter (1978)." Film-Site (ND)

Ebert, Roger. "Deer Hunter." Chicago Sun-Times (March 9, 1979)

Gilbey, Ryan. "After 36 years, The Deer Hunter remains one of the most fascinating films on Vietnam." The New Statesman (August 5, 2014)

Horsley, Carter B. "The Deer Hunter." The City Review (ND)

Hunter, Melissa. "The Deer Hunter." The Soul of the Plot (February 4, 2014)

Kinder, Bill. "When Soldiers Come Home in the Movies: The post-war experience as told in tropes." Keyframe (November 11, 2015)

Krantz, Rachel C. "Apocalypse Now and The Deer Hunter: The Lies Aren't Over." Jump Cut #23 (October 1980): 18-20.

MacDowell, James. "John Cazale: Stepped Over." Alternate Takes (June 12, 2012)

Rushing, Janice Hocker and Thomas S. Frentz. "The Deer Hunter: Rhetoric of the Warrior." The Quarterly Journal of Speech #66 (1980): 392-406.





Monday, May 15, 2017

Saturday, May 13, 2017

Slurring Bee 1: May 14, 2017

Also need 15 absurd/quirky warm up questions

Pronouncer Information 1. Read carefully the Judges, Recorders, Spellers and Audiences information that is included in the Scripps pronouncers’ guide. 2. Familiarize yourself with all words on the confidential word list. Pronunciation is important. A meeting with the judges to insure pronunciation of words and procedures will be scheduled prior to the Bee beginning. 3. Speak clearly for contestants, judges and audience alike. Grant all requests to repeat a word until the judges agree that the word has been made reasonably clear to the speller. You may request the speller to speak more clearly or louder. 4. “Pace” yourself. You need time to focus attention on the pronunciation of the new word and the judges need a few moments between each contestant to do their tasks.

Speller’s Information 1. Each speller needs to focus on the Pronouncer, to aid his or her hearing and understanding of the context of the word. A speller may ask for the word to be repeated, for its use in a sentence, for a definition, for the part of speech, and for the language of origin. 2. Each speller should pronounce the word before and after spelling it. If the speller fails to pronounce the word after spelling it, the judge may ask if they are finished. If they say yes, the judge will remind the speller to remember to repeat the word the next time. (No speller will be eliminated for failing to pronounce a word.) 3. When a speller is at the podium spelling, the next speller should be standing at a marked location ready to proceed to the podium.

1) maenad

2) menstruation

3)  grok
Grok may be the only English word that derives from Martian. Yes, we do mean the language of the planet Mars. No, we're not getting spacey; we've just ventured into the realm of science fiction. Grok was introduced in Robert A. Heinlein's 1961 science fiction novel Stranger in a Strange Land. The book's main character, Valentine Michael Smith, is a Martian-raised human who comes to earth as an adult, bringing with him words from his native tongue and a unique perspective on the strange ways of earthlings. Grok was quickly adopted by the youth culture of America and has since peppered the vernacular of those who grok it.

4) hierarchy

5) femininity

6)  harassment

7) misogyny

8) patriarchy

9) doula

10) innocuous

11) dystopia

12) ostracism

13) cacophony

14) imbecile

15) incongruity

16) oscillation

17) bouyant

18) resilience

19) transience

20) cinephile

21) abhorrent

22) asymmetrical

23) corporeal

24) palette

25) demagogue

26) anthophilous

27) banausic

28) abecedarian

29) carnassial

30) vinaceous

31) obstinacy

32) impuissance

33) catachresis

34) gnosis

35) finagle

36) sexploitation

37) satori

38) calisthenics

39) tintinnabulation

40) dentifrice

41) microcosm

42) pandemonium

43) supposititious

44) obsolescence

45) lanuginous

46) louche


Tuesday, May 9, 2017

Philip K. Dick: "If you can control the meaning of words, you can control the people who use the words"





How to Build a Universe That Doesn't Fall Apart Two Days Later
by Philip K. Dick, 1978

Well, I will tell you what interests me, what I consider important. I can't claim to be an authority on anything, but I can honestly say that certain matters absolutely fascinate me, and that I write about them all the time. The two basic topics which fascinate me are "What is reality?" and "What constitutes the authentic human being?" Over the twenty-seven years in which I have published novels and stories I have investigated these two interrelated topics over and over again. I consider them important topics. What are we? What is it which surrounds us, that we call the not-me, or the empirical or phenomenal world?

...

In 1951, when I sold my first story, I had no idea that such fundamental issues could be pursued in the science fiction field. I began to pursue them unconsciously. My first story had to do with a dog who imagined that the garbagemen who came every Friday morning were stealing valuable food which the family had carefully stored away in a safe metal container. Every day, members of the family carried out paper sacks of nice ripe food, stuffed them into the metal container, shut the lid tightly—and when the container was full, these dreadful-looking creatures came and stole everything but the can.

Finally, in the story, the dog begins to imagine that someday the garbagemen will eat the people in the house, as well as stealing their food. Of course, the dog is wrong about this. We all know that garbagemen do not eat people. But the dog's extrapolation was in a sense logical—given the facts at his disposal. The story was about a real dog, and I used to watch him and try to get inside his head and imagine how he saw the world. Certainly, I decided, that dog sees the world quite differently than I do, or any humans do. And then I began to think, Maybe each human being lives in a unique world, a private world, a world different from those inhabited and experienced by all other humans. And that led me to wonder, if reality differs from person to person, can we speak of reality singular, or shouldn't we really be talking about plural realities? And if there are plural realities, are some more true (more real) than others? What about the world of a schizophrenic? Maybe, it's as real as our world. Maybe we cannot say that we are in touch with reality and he is not, but should instead say, his reality is so different from ours that he can't explain his to us, and we can't explain ours to him. The problem, then, is that if subjective worlds are experienced too differently, there occurs a breakdown of communication... and there is the real illness.

...

It was always my hope, in writing novels and stories which asked the question "What is reality?", to someday get an answer. This was the hope of most of my readers, too. Years passed. I wrote over thirty novels and over a hundred stories, and still I could not figure out what was real. One day a girl college student in Canada asked me to define reality for her, for a paper she was writing for her philosophy class. She wanted a one-sentence answer. I thought about it and finally said, "Reality is that which, when you stop believing in it, doesn't go away." That's all I could come up with. That was back in 1972. Since then I haven't been able to define reality any more lucidly.

But the problem is a real one, not a mere intellectual game. Because today we live in a society in which spurious realities are manufactured by the media, by governments, by big corporations, by religious groups, political groups—and the electronic hardware exists by which to deliver these pseudo-worlds right into the heads of the reader, the viewer, the listener. Sometimes when I watch my eleven-year-old daughter watch TV, I wonder what she is being taught. The problem of miscuing; consider that. A TV program produced for adults is viewed by a small child. Half of what is said and done in the TV drama is probably misunderstood by the child. Maybe it's all misunderstood. And the thing is, Just how authentic is the information anyhow, even if the child correctly understood it? What is the relationship between the average TV situation comedy to reality? What about the cop shows? Cars are continually swerving out of control, crashing, and catching fire. The police are always good and they always win. Do not ignore that point: The police always win. What a lesson that is. You should not fight authority, and even if you do, you will lose. The message here is, be passive. And—cooperate. If Officer Baretta asks you for information, give it to him, because Officer Beratta is a good man and to be trusted. He loves you, and you should love him.

So I ask, in my writing, What is real? Because unceasingly we are bombarded with pseudo-realities manufactured by very sophisticated people using very sophisticated electronic mechanisms. I do not distrust their motives; I distrust their power. They have a lot of it. And it is an astonishing power: that of creating whole universes, universes of the mind. I ought to know. I do the same thing. It is my job to create universes, as the basis of one novel after another. And I have to build them in such a way that they do not fall apart two days later. Or at least that is what my editors hope. However, I will reveal a secret to you: I like to build universes which do fall apart. I like to see them come unglued, and I like to see how the characters in the novels cope with this problem. I have a secret love of chaos. There should be more of it. Do not believe—and I am dead serious when I say this—do not assume that order and stability are always good, in a society or in a universe. The old, the ossified, must always give way to new life and the birth of new things. Before the new things can be born the old must perish. This is a dangerous realization, because it tells us that we must eventually part with much of what is familiar to us. And that hurts. But that is part of the script of life. Unless we can psychologically accommodate change, we ourselves begin to die, inwardly. What I am saying is that objects, customs, habits, and ways of life must perish so that the authentic human being can live. And it is the authentic human being who matters most, the viable, elastic organism which can bounce back, absorb, and deal with the new.

...

The basic tool for the manipulation of reality is the manipulation of words. If you can control the meaning of words, you can control the people who must use the words. George Orwell made this clear in his novel 1984. But another way to control the minds of people is to control their perceptions. If you can get them to see the world as you do, they will think as you do. Comprehension follows perception. How do you get them to see the reality you see? After all, it is only one reality out of many. Images are a basic constituent: pictures. This is why the power of TV to influence young minds is so staggeringly vast. Words and pictures are synchronized. The possibility of total control of the viewer exists, especially the young viewer. TV viewing is a kind of sleep-learning. An EEG of a person watching TV shows that after about half an hour the brain decides that nothing is happening, and it goes into a hypnoidal twilight state, emitting alpha waves. This is because there is such little eye motion. In addition, much of the information is graphic and therefore passes into the right hemisphere of the brain, rather than being processed by the left, where the conscious personality is located. Recent experiments indicate that much of what we see on the TV screen is received on a subliminal basis. We only imagine that we consciously see what is there. The bulk of the messages elude our attention; literally, after a few hours of TV watching, we do not know what we have seen. Our memories are spurious, like our memories of dreams; the blank are filled in retrospectively. And falsified. We have participated unknowingly in the creation of a spurious reality, and then we have obligingly fed it to ourselves. We have colluded in our own doom.

And—and I say this as a professional fiction writer—the producers, scriptwriters, and directors who create these video/audio worlds do not know how much of their content is true. In other words, they are victims of their own product, along with us. Speaking for myself, I do not know how much of my writing is true, or which parts (if any) are true. This is a potentially lethal situation. We have fiction mimicking truth, and truth mimicking fiction. We have a dangerous overlap, a dangerous blur. And in all probability it is not deliberate. In fact, that is part of the problem. You cannot legislate an author into correctly labelling his product, like a can of pudding whose ingredients are listed on the label... you cannot compel him to declare what part is true and what isn't if he himself does not know.

...




If any of you have read my novel Ubik, you know that the mysterious entity or mind or force called Ubik starts out as a series of cheap and vulgar commercials and winds up saying:

I am Ubik. Before the universe was I am. I made the suns. I made the worlds. I created the lives and the places they inhabit; I move them here, I put them there. They go as I say, they do as I tell them. I am the word and my name is never spoken, the name which no one knows. I am called Ubik but that is not my name. I am. I shall always be.


It is obvious from this who and what Ubik is; it specifically says that it is the word, which is to say, the Logos. In the German translation, there is one of the most wonderful lapses of correct understanding that I have ever come across; God help us if the man who translated my novel Ubik into German were to do a translation from the koine Greek into German of the New Testament. He did all right until he got to the sentence "I am the word." That puzzled him. What can the author mean by that? he must have asked himself, obviously never having come across the Logos doctrine. So he did as good a job of translation as possible. In the German edition, the Absolute Entity which made the suns, made the worlds, created the lives and the places they inhabit, says of itself:

I am the brand name.


Had he translated the Gospel according to Saint John, I suppose it would have come out as:

When all things began, the brand name already was. The brand name dwelt with God, and what God was, the brand name was.


...

Such is the fate of an author who hoped to include theological themes in his writing. "The brand name, then, was with God at the beginning, and through him all things came to be; no single thing was created without him." So it goes with noble ambitions. Let's hope God has a sense of humor.

Or should I say, Let's hope the brand name has a sense of humor.

Link to Read the Entire Speech

More:

Check out Philip K. Dick Fansite