Tuesday, February 28, 2017

I Am Not Your Negro (France/USA: Raoul Peck, 2016)




I Am Not Your Negro (France/USA: Raoul Peck, 2016: 95 mins)

Als, Hilton. "Capturing James Baldwin's Legacy Onscreen." The New Yorker (February 13, 2017)

Baldwin, James. "A Talk to Teachers." (PDF: 1963)

---. "The Creative Process." (PDF: 1962)

---. "Going to Meet the Man." (PDF: 1965)

---. "Go the Way Your Blood Beats." (PDF: 1984)

---. "The New Lost Generation." (PDF: 1961)

---. "Notes of a Native Son." (PDF: 1955)

---. "On Being White ... and Other Lies." (1984)  Black on White: Black Writers on What It Means to Be White. ed. David Roediger. Schocken Press, 1998: 177-180.

---. "Sonny's Blues." (PDF: 1957)

Casmier, Stephen. "Did I Get James Baldwin Wrong?" Codeswitch (February 5, 2017)

Clark, Ashley, Violet Lucca and Amy Taubin. "Identity." Film Comment (January 17, 2017) ["Ideology and aesthetics have somehow come to be positioned opposite one another—in film criticism, should one be privileged over the other? This episode of The Film Comment Podcast discusses how race, ethnicity, and other markers of identity factor into film criticism and cinema generally. FC Digital Editor Violet Lucca unpacks the topic with Amy Taubin, Contributing Editor to FC and Artforum, and Ashley Clark, FC contributor and programmer, in a conversation that spans multiple decades of film history—from Taxi Driver to OJ: Made in America to Notting Hill to I Am Not Your Negro, to the canceled Michael Jackson episode of Urban Myths starring Joseph Fiennes."]

Crump, Andy. "You Can't Keep Up: Raoul Peck and I Am Not Your Negro's Call To Action." Paste (February 1, 2017)

Dixon, Osato. "I Am Not Your Negro: Baldwin Doc Affirms Troubling Truths of Race in America." NBC News (February 3, 2017)

Erickson, Steven. "'There Cannot Be a Dream If It's Based On a Lie': I Am Not a Negro director Raoul Peck on James Baldwin, active citizenship, and America." Keyframe (February 2, 2017)

Hedges, Chris. "James Baldwin and the Meaning of Whiteness." Truthdig (February 19, 2017)
Orr, Niela. "The Defiant I Am Not Your Negro." The Baffler (February 10, 2017)

Peck, Raoul. "I Am Not Your Negro." Film Comment Podcast (January 31, 2017)

Peck, Raoul, et al. "I Am Not Your Negro / Film Comment @ Sundance." The Close-Up #120 (January 24, 2017)

Pinckney, Darryl. "Under the Spell of James Baldwin." The New York Review of Books (March 23, 2017)

Rainer, Peter. "I Am Not Your Negro Shows That the World Today is Poorer for Not Having James Baldwin's Views." The Christian Science Monitor (February 24, 2017)

"Raoul Peck." WTF #789 (February 27, 2017) ["Filmmaker Raoul Peck spent more than a decade putting together the documentary I Am Not Your Negro, a powerful film illuminating the words and life of writer and social critic James Baldwin. But as Marc learns in this conversation, Raoul’s own backstory of living under dictatorships, studying across four continents, and learning how to engage activism through art is just as important in understanding how to respond to the world today."]

Rosenberg, Alyssa. "If You Love Cultural Criticism, You Have to See I Am Not Your Negro." The Washington Post (February 2, 2017)

Scott, A.O. "I Am Not Your Negro Will Make You Rethink Race." The New York Times (February 2, 2017)

Woubshet, Dagmawi. "The Imperfect Power of I Am Not Your Negro." The Atlantic (February 8, 2017) ["Raoul Peck’s documentary brings to life James Baldwin’s urgent ideas about race in America, even if it leaves out a key aspect of the writer’s life and work: his sexuality."]
































Resources for February 28, 2017

Barton-Fumo, Margaret, Molly Haskell and Violet Lucca. "Women in New Hollywood." Film Comment (February 7, 2017) ["Road-tripping crises of masculinity soundtracked by classic rock, Harvey Keitel making up for his sins in the streets—a laundry list of 1970s New Hollywood highlights can tend to lack a nuanced female presence. But the ’70s also gave us Wanda, Puzzle of a Downfall Child, Girlfriends, A Woman Under the Influence, and even Five Easy Pieces, all of which explore female identity in the era of second-wave feminism. This episode of the Film Comment podcast spirals outwards from From Reverence to Rape author Molly Haskell’s essay on Mike Mills’s 20th Century Women and accompanying interview with Annette Bening, in the January/February issue, taking a closer look at depictions of women in New Hollywood. Some of these were “neo-women’s films,” dealing with disillusioned housewives fleeing the domestic sphere; others took on female friendship without turning a blind eye to its messiness, a line that runs through Thelma and Louise, Frances Ha, and Broad City. In addition to Haskell, FC Deep Cuts columnist Margaret Barton-Fumo stops by to join the conversation, and as always, Digital Editor Violet Lucca moderates."]

Costs of War  [Website: "The Costs of War Project is a team of 35 scholars, legal experts, human rights practitioners, and physicians, which began its work in 2011. We use research and a public website to facilitate debate about the costs of the post-9/11 wars in Iraq and Afghanistan, and the related violence in Pakistan and Syria. There are many hidden or unacknowledged costs of the United States’ decision to respond to the 9/11 attacks with military force. We aim to foster democratic discussion of these wars by providing the fullest possible account of their human, economic, and political costs, and to foster better informed public policies. Project Goals: To account for and illustrate the wars’ costs in human lives among all categories of person affected by them, both in the US and in Iraq, Afghanistan, and Pakistan; To tell as accessible as possible a story of the wars’ costs in US federal and local dollars, including the long-term financial legacy of the wars in the US; To assess the public health consequences of the wars, including for the countries of Iraq and Afghanistan and for US veterans living with war injuries and illnesses; To describe how these wars have changed the political landscape of the US and the countries where the wars have been waged, including the status of women in the war zones, the degree to which Iraq and Afghanistan’s fledgling democracies are inclusive and transparent, and the state of civil liberties and human rights in the US;
To identify less costly and more effective ways to prevent further terror attacks."]

Crawford, Neta. "As Trump Pushes for Historic $54B Military Spending Hike, Which Programs Will He Cut to Pay for War?" Democracy Now (February 28, 2017)

Hancock, James and Kyle Reardon. "Dissecting the Great Takashi Miike." Wrong Reel #237 (February 2017)

Hedges, Chris. "War is a Force That Gives Us Meaning." Approaches to Peace: A Reader in Peace Studies. 2nd edition. ed. David P. Barash. NY: Oxford UP, 2010: 24-26.

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 synchronised dancing in Anna Rose Holmer’s debut film, which explores how our ideas of our gender are formed as we grow up."]

Krishna, Swapna. "Science vs. The Expanse: Is It Possible to Colonize Our Solar System." Tor (February 27, 2017)

O'Mara, Shane. Why Torture Doesn't Work: The Neuroscience of Interrogation. Harvard University Press, 2015.

Parijs, Philippe Van and Yannick Vanderborght. Basic Income: A Radical Proposal for a Free Society and a Sane Economy. Harvard University Press, 2017.

Project Censored [Website: "Project Censored educates students and the public about the importance of a truly free press for democratic self-government. We expose and oppose news censorship and we promote independent investigative journalism, media literacy, and critical thinking. An informed public is crucial to democracy in at least two basic ways. First, without access to relevant news and opinion, people cannot fully participate in government. Second, without media literacy, people cannot evaluate for themselves the quality or significance of the news they receive. Censorship undermines democracy. Project Censored’s work—including our annual book, weekly radio broadcasts, campus affiliates program, and additional community events—highlights the important links among a free press, media literacy and democratic self-government."]

"The Top 25 Censored News Stories of 2015 - 2016." Project Censored (2016) [Earlier annual archives of Top 25 Censored News Stories listed here.]

Zimring, Franklin M. When Police Kill. Harvard University Press, 2017.


Emma Stone, people! from Fandor on Vimeo.


Monday, February 27, 2017

20th Century Women (USA: Mike Mills, 2016)




20th Century Women (USA: Mike Mills, 2016: 118 mins)


20th Century Women Critics Round Up (Ongoing Archive)

Adams, Amy, et al. "Watch Isabelle Huppert, Emma Stone, Amy Adams & More Discuss Acting in 50-Minute Roundtable."  Film Stage (January 30, 2017) [" Isabelle Huppert (Elle), Emma Stone (La La Land), Amy Adams (Arrival), Natalie Portman (Jackie), Naomie Harris (Moonlight), Annette Bening (20th Century Women), and Taraji P. Henson (Hidden Figures)."]

"Annette Bening." WTF #769 (December 18, 2016) ["Annette Bening attributes her longevity in acting to stopping when she wanted. She talks with Marc about being able to put the brakes on her career when dealing with the responsibilities of parenting. They also talk about privacy, winning (or not winning) awards, Warren Beatty, and the many influential people Annette worked with who are no longer with us, including Garry Shandling, Mike Nichols, John Candy, and Robin Williams."]

Barton-Fumo, Margaret, Molly Haskell and Violet Lucca. "Women in New Hollywood." Film Comment (February 7, 2017)

Bloom, Julie. "A Boy Raised by a Few 20th Century Women." The New York Times (November 4, 2016)

Chang, Justin. "Annette Bening is the Pitch-Perfect Centerpiece of 20th Century Women." The Los Angeles Times (December 27, 2016)

Chocano, Carina. "'I Got Beat Up For Wearing This Shirt': Filmmaker Mike Mills shares seven objects that inspired 20th Century Women." The Cut (January 4, 2017)

Ehrlich, David. "20th Century Women Review: Annette Bening, Greta Gerwig, and Elle Fanning Star In Mike Mills’ Best Film." IndieWire (October 7, 2016)

Formo, Brian. "20th Century Women: Mike Mills on the Story’s Response to Beginners, the Necessity of DIY Spaces." Collider (December 27, 2016)

Fujishima, Kenji. "20th Century Women." Paste (October 11, 2016)

Gilbert, Sophie. "20th Century Women is an Ode to Female Resilience." The Atlantic (January 13, 2017)

Hoffman, Jordan. "20th Century Women: Mike Mills New Film is Poignant and Delicious." The Guardian (October 7, 2016)

Loofbourow, Lili. "20th Century Women, and the Movie as Mixtape." The Week (December 26, 2016)

Mills, Mike. "On Filmmaking." The Close-Up (December 29, 2016)

O'Malley, Sheila. "20th Century Women." Roger Ebert (December 23, 2016)

Rooney, David. "20th Century Women: NYFF 2016." The Hollywood Reporter

Warne, Jude. "Authenticity in Many Forms: 20th Century Women." Film International (January 4, 2017)



























































Caleb Kincaid: Rick and Morty on Personal Identity (ENG 102)




Rick and Morty is, in my opinion, one of the best shows on television today. In its most
basic sense the show is about a young, slightly below average, foolishly good-hearted boy named
Morty and his callous, genius, and alcoholic grandfather Rick as they go on adventures through
space, time and dimensions. Though from the offset this seems like a fairly straightforward and
normal cartoon, it has proven itself capable of asking some serious and occasionally unsettling
questions about reality, morality, and personal identity in a way that can keep one thinking long
after the credits roll. What Rick and Morty says about personal identity and memory is
fascinating in that Rick and Morty seems to go against what many would think, and in that way
makes you think. In this in this paper, I will argue that the show illustrates that one's identity
doesn't come from memory or life experience, but rather from physical form.

To continue down the show’s line of reasoning to this conclusion, we must first discuss
the branch of philosophy that deals with the subject of identity, the Philosophy of Personal
Identity. This philosophy seeks to answer a seemingly simple but deceptively difficult question:
What is “you”? What does being the person that “you” are, from one day to the next, necessarily
consist of? ( Olson) Two of the most prevalent ways to answer this question are the psychological
and physiological. In the psychological approach, a person’s identity is based on their memories
and mind. The physiological approach, in contrast, states a person's identity is tied directly to
their physical form. “Rick and Morty” concurs with the physiological approach by illustrating
the fallibility of memories and reliability of one's physical form.

The show challenges one’s trust in memory in the form of thought experiments. One
small, seemingly inconsequential example occurs in the episode “Mortynight Run”. In the show,
Rick had just sold a gun to an assassin. He does this so that he and Morty could spend an entire
afternoon at “Blips and Chitz”, an inter-dimensional Dave and Busters. In this scene, Rick forces
Morty to play a game called “Roy.” Morty, knowing nothing about the game, agrees to play. To
start the game, Morty puts on a helmet. The helmet takes over the mind and senses to convince
the wearer that they are within the life of a young boy named Roy, living his entire life until he
dies. The game speeds up time however, so what feels like a lifetime to the player is, in reality,
only a few minutes.. When Morty puts on the helmet, he wakes up in Roy’s bed complaining of a
nightmare he had about Morty’s own life, which Roy’s virtual mother assures him was only a
nightmare. He wakes up, goes to school, becomes a star athlete and marries his college
sweetheart. He then falls into financial trouble, forcing him to work for his wife’s father at a
carpet store. His luck takes another turn for the worse when he gets cancer. Fortunately, he beats
cancer only to die by falling off a ladder. At this point Morty wakes up from the game, and out of
his life as Roy, visibly confused about where and who he is. Even after he’s recovered and Rick
explains what happened, he mutters about memories and experiences Morty felt he had
experienced in Roy’s life for the rest of the episode.

Now the question the scene raises to the inquisitive mind is, was Morty still Morty
throughout the entire game playing as Roy, even though he thought he was Roy? Or was he Roy?
And in either case how can one be sure? One philosopher, John Locke, would argue that the
answer to these questions lies in the psychological approach and in psychological continuity.
Locke defines the concept of psychological continuity in "An Essay Concerning Human
Understanding":

...and as far as this consciousness can be extended backwards to any past
action or thought, so far reaches the identity of that person; it is the same self now
that it was then; and this present self that now reflects on it is the one by which
that action was performed.(Locke)

In somewhat simpler terms, this states a past person and a future person are one if they
have continuous memories that connect them. But Morty stops having memories of his life for
the length of the game, instead having memories as the fictional Roy. As a consequence, Morty
ceases to exist, because his memories as Morty cease to exist, while the game is played. His
identity picks back up when those memories continue after the game is over. This begs the
question, what happened while he played the game? Was he Roy? This seems implausible or at
the very least problematic because he is a fictional character within the confines of a game. Roy
cannot truly be a person or have his own identity in the same way Morty can. Multiple people
cannot share the same ‘identity’ of Roy because then that identity could no longer represent one
person, thus not truly an identity at all. Locke supports this assertion by stating:

We never find—and can’t even conceive of—two things of the same kind
existing in the same place at the same time, so we rightly conclude that whatever
exists in a certain place at a certain time excludes all of the same kind, and is there
itself alone.

Since he does not exist outside of any player and is only a part of a repeatable process controlled
by a game many people partake in, Roy cannot be an acceptable stand-in for the identity of
Morty. But Morty also cannot exist during the time of the game because of the break in his
memories as ‘Morty.’ Locke’s psychological approach indicates that since Morty’s memories
disappeared for the duration of the game, and since Roy cannot be an acceptable identity, then
during the time the game was played Morty became nothing.

In the situation proposed by the show, a psychological approach to defining one’s identity
is flawed. It is unreasonable to assume Morty became nothing when he played the game because
when viewed from the perspective of Rick, Morty clearly still exists because Morty is sitting in
front of Rick playing the game. To resolve this issue, one should look to the physiological
perspective. From this approach, even though Morty has no memories during the duration of the
game, he continues to exist because his body continues to exist. It does not matter what he
remembers while in his life as Morty or in the game playing as Roy, because since he still
inhabits his physical body in a sort of physical continuity, as proposed by A.J. Ayers, his identity
endures. Ayers describes this physical continuity in Language Truth and Logic:

And, accordingly, if we ask what is the nature of the self, we are asking
what is the relationship that must obtain between sense-experiences for them to
belong to the sense-history of the same self. And the answer to this question is
that for any two sense-experiences to belong to the sense-history of the same self
it is necessary and sufficient that they should contain organic sense-contents
which are elements of the same body. (Ayer 81-82)
In other words, Ayers says that a body in the past and a body in the future belongs to one “self”
if they have physical experiences connecting them. Morty’s physical continuity preserved his
identity throughout the game of Roy. As stated earlier, Rick could always look over and see
Morty as Morty, even while Morty was convinced he was Roy, illustrating that Morty never
stopped existing in a physical way. From this, it is reasonable to conclude the show believes the
physical body is the only reliable way to discern an identity when memories are easily
susceptible to manipulation, failure, and breaks. But, as long as you're alive and thus capable of
having an identity, the body and the physical form will always be there to preserve it.

The idea of the fragility of memories and the psychological approach to identity comes
up again in another episode called “Total Rickall”. In this episode, Rick and Morty’s family is
infested with space parasites that have the ability to give you false memories of fictional family
and friends and take the place of them in real life, convincing you that you have know these
non-existent people, aka parasites, you're entire life. They’re eventually able to get rid of them,
thanks to the fact that they can only make happy memories, but not before the parasites
multiplied until they filled their house and had the entire family believing in a life they never
had. Once again, Rick and Morty toys with the idea of even the possibility of a psychological
continuity. In this case, the characters believe these memories to be there own, even though
many of them are false, with no way to distinguish between the real and the falsified. The Morty
before the parasites came and the Morty after the parasites came are, in the sense of memory,
two completely different people with few of the same experiences and a completely different
psychological continuity. Yet when the episode is over and all the parasites are dead, the
characters are still the same person they were at the begin of the episode, with the show making a
point to make it seem as though nothing had happened between the beginning of the episode and
the end. The characters sit down and eat at the same table exactly like they were at the beginning
of the episode. Though the show is explicitly preaching nihilism in this scene, it also raises
interesting questions about identity. Rick and Morty is clearly telling you that everything is the
same, regardless of the events of the episode, and that this extends to even the personal identities
of the characters. In this way, the viability of using psychological continuity to derive personal
identity is questioned. For although the scenario portrayed in the show is comically over the top,
the premise of false memories are all too real in human existence. People constantly
misremember, make up, and lie to themselves about the past. They constantly rewrite their own
memories and thus constantly changing their psychological continuities. And if you agree with
Locke and use this continuity to derive identity, then whenever continuity changes so does
identity. Meaning that most people would have nearly constantly changing identities, which is
the equivalent of having no identity at all. This applies to the characters as well, with their
memories manipulated so many times, their identity as defined by Locke was ever changing and
thus non-existent. Once again, the psychological approach has brought us to the impossible
conclusion that the characters, and in this case most people, are nothing. But this is illogical of
course, because the characters continue to act and generally live within the show, indicating their
existence and some sort of identity. Where Locke and the psychological approach to deriving
personal identity fail us, the physiological approach and the concept of physical continuity have
a solution. In the same manner as in the Roy example, the characters all had a physical
continuity that preserved their identity in a way their manipulated memories could not. No matter
the changes to their memory, their bodies continued to exist throughout the experience, keeping
their identities intact. Because of this, when the characters had all come back to the table with
their original bodies, they also came back with their identities. Through the episode “Total
Rickall”, “Rick and Morty” tears at the concept of deriving identity through a psychological
continuity and instead points to a physical continuity as the better theory of personal identity.

Through the scenarios of the game of “Roy” and the memory implanting parasites of
“Total Rickall”, “Rick and Morty” shows that personal identity cannot truly come from memory
or the mind, but that it can only come from the physical body. These examples exhibit the
unreliability of human memory, how easily it can be manipulated by others and even yourself,
and the impossibility of deriving any sort of true personal identity from such an untrustworthy
source. They also exhibit the consistency of the physical form, and how a physical continuity is
the reliable way to derive personal identity. Through this, it has become clear that “Rick and
Morty” illustrates that one's identity doesn't come from memory or life experience, but rather
from physical form.

Works Cited

Ayer, A.J.. “Language, Truth and Logic”, Dover Publications, 2012. 81-82

Korfmader, Carsten. “Personal Identity”, Internet Encyclopedia of Phyilosophy:
http://www.iep.utm.edu/person-i/#H4

Locke, John. “An Essay Concerning Human Understanding Book II: Ideas”, Early Modern Texts
(1690): http://www.earlymoderntexts.com/assets/pdfs/locke1690book2.pdf

Olson, Eric T., "Personal Identity", The Stanford Encyclopedia of Philosophy (Spring 2016
Edition): <http://plato.stanford.edu/archives/spr2016/entries/identity-personal/>.

Thursday, February 23, 2017

Fall 2017 ENG 281: Women Filmmakers

[An archive I'm building for my Fall 2017 ENG 281: Women Filmmakers course -- please share suggestions of resources and films in the comments.  The archive also includes general analysis from a range of disciplines authored by and/or about women.]



"Heteropatriarchy is the logic by which all other forms of social hierarchy become naturalized… The same logic underlying the belief that men should dominate women on the basis of biology underlies the belief that the elites of a society naturally dominate everyone else[…]we must develop strategies that address state violence and interpersonal violence simultaneously." from the Preface to Andrea Smith's The Revolution Starts at Home (AK Press, 2016)






"50+ Films about Women That Will Change The Way You See The World." Films for Action (August 4, 2015)

Ackerman, Galia, et al. "My Body My Message: Women’s Bodies as Tools of Self-Empowerment." Making Contact (July 8, 2015) ["The female body as medium, and as message. How can a woman determine how she is perceived by the world, and even by herself? On this edition, we hear stories of women who are using their bodies for political protest, and as tools of self-empowerment…forcing everyone to reevaluate their perspectives on the female form."]

Adams, John Joseph, Tobias Buckell and Sam J. Miller. "Is Sense8 Too Radical for Critics?" Wired (July 6, 2015)

Ahmad, Aalya. "Feminist Spaces in Horrific Places: Teaching Gender and Horror Cinema." Offscreen 18.6/7 (July 2014)

Akcali, Elif. "Ceylan's Women: Looking / Being Looked At." [in]Transition (August 5, 2015)

"Alexandra Heller-Nicholas (Ms. 45)." The Cinephiliacs #90 (March 17, 2017) ["Cinema is not just watching: it's shivering, sweating, and screaming. Those aspects of the moves are part of what drives Australian film critic Alexandra Heller-Nicholas. The co-editor of Senses of Cinema discusses her interest in horror films through a number of multimedia projects from radio to image collages on Twitter. They also dive deep on her books on rape-revenge, Dario Argento's Suspria, and now her latest on Abel Ferrara's exploitation classic, Ms. 45...or does the film actually belong to its lead actress Zoë Lund? The two look at the unique tension between director and performer, and how this surprisingly complex film has become an icon for feminist horror buffs."]

"Andrea Štaka's Cure - The Life of Another." Notebook (august 4, 2015)

"A Pantheon of One’s Own: 25 Female Film Critics Worth Celebrating." Sight and Sound (March 8, 2015)

Ataide, Jesse. "Half the Sky: Women Auteurs I." Keyframe (March 23, 2012)

---. "Half the Sky: Women Auteurs II." Keyframe (March 30, 2012)

---. "Half the Sky: Women Auteurs III." Keyframe (April 6, 2012)

Bale, Miriam. "Johnny Guitar." The Cinephiliacs (April 21, 2013)

Barnes, Henry. "Cannes faces backlash after women reportedly barred from film screening for not wearing high heels." The Guardian (May 19, 2015)

Beauvoir, Simone. Simone de Beauvoir Explains “Why I’m a Feminist” in a Rare TV Interview (1975). Open Culture (May 23, 2013)

Bechdel Test Fest

Benedict, Steven. "Mad Max: Fury Road." (Audio: May 16, 2015) [Highights the role of Eve Ensler in the development of the film]

Berman, Judy. "It’s Pointless to Argue Over Whether a Film — or Any Work of Art — Is Feminist." Flavorwire (November 14, 2013)

---. "What Dogme 95 Did for Women Directors." The Dissolve (April 22, 2015)

Bernstein, Paula. "Oscar Winner Laura Poitras on How Field of Vision Will Change Documentary Filmmaking." IndieWire (September 10, 2015)

Blue, Violet, et al. "Be an Expert." Popaganda (July 30, 2015) ["In all kinds of ways, race and gender impact the way we present ourselves as knowledgable. You see it everywhere: from the way boys are more likely to speak up in classrooms to the way men are way more likely to be quoted as “experts” in print media or asked to be voices of authority on TV. A recent analysis of Sunday morning TV news shows by Media Matters showed that 61 percent of expert guests were white men. So on today’s show, we have three stories about women who are screwing around with the idea of what’s an expert. The women on this show are all putting themselves forward as experts—sometimes requiring actual imposter situations. We talk with Laura Nix, the co-director of the new documentary The Yes Men Are Revolting about how she captures the activist group's media stunts on camera. Then, comedians Gaby Dunn and Allison Raskin discuss being fake advice experts to dish out genuine comedy. The show ends with journalist Violet Blue, author of The Smart Girls' Guide to Privacy, about how to be an expert on your internet privacy."]

Borstein, Alex, et al. "Hollywood's Missing Directors." Popaganda (June 4, 2015) ["We start off this episode by talking with a lawyer from the ACLU (which recently issued a letter calling for government agencies to investigate Hollywood hiring practices) and talk with filmmaker Destri Martino, who launched The Director List—a brand-new database of hundreds of female directors. We hear from filmmaker Christina Choe about what it’s like to work on indie movies—including her current film Nancy—and from producer, writer, and actress Alex Borstein about her long career working within Hollywood writers' rooms. Plus: the best of Shit People Say to Women Directors."]

Brown, Adrienne Maree and Walida Amarisha. "Decolonizing the Mind." GRITtv (Posted on Youtube: April 21, 2015)

Buckley, Cara. "A.C.L.U., Citing Bias Against Women, Wants Inquiry Into Hollywood’s Hiring Practices." The New York Times (May 13, 2015)

Burchett, William, Brian Risselada and Josh Ryan. "Claire Denis." Syndrome and a Cinema #3 (October 17, 2011) ["On this episode we talk about Claire Denis, a highly-regarded contemporary French filmmaker who has made waves with films such as Beau travail and White Material. In particular we look at her films Chocolat (1988), Beau travail (1999) and Trouble Every Day (2001)."]

Burks, Raychell, et al. "Women of Science." Popaganda (May 8, 2015)

Carter, Helen. "Great Directors: Agnes Varda." Senses of Cinema #22 (October 2002)

Chemaly, Soraya. "10 Words Every Girl Should Learn." Films for Action (March 24, 2015)

Child, Ben. "Maggie Gyllenhaal: At 37 I was 'too old' for role opposite 55-year-old man." The Guardian (May 21, 2015)

Claire Denis: The Art of Seduction Reverse Shot (June 26, 2009-July 16, 2009)

Clover, Carol J. "Her Body, Himself: Gender in the Slasher Film."  Misogyny, Misandry, and Misanthropy. Eds. R. Howard Bloch and Frances Ferguson. Berkeley: University of California Press, 1989: 187-221.

Colau, Ada. "From Occupying Banks to City Hall: Meet Barcelona’s New Mayor Ada Colau." Democracy Now (June 5, 2015)

Cotillard, Marion. "On Her career and Her Roles in Jean-Pierre and Luc Dardenne's Two Days One Night and James Gray's The Immigrant." The Close-Up #8 (December 2014)

Coyle, Jake. "Amid Male Landscape of 'Mad Max,' Charlize Theron Dominates." ABC (May 14, 2015)

Criado-Perez, Caroline. "Do it Like a Woman: Contemporary feminist activism and How You Can Change the World." London School of Economics and Political Science (June 3, 2015)

Creed, Barbara. "Horror and the Monstrous-Feminine: An Imaginary Abjection." (Excerpt of essay originally published in Screen, January 1986)

Cronk, Jordan. "Kelly Reichardt: Genres, Geographies and the Evolution of a Filmmaker." Keyframe (March 4, 2014) ["Where Reichardt’s latest, an elaborate tale of radicalism, eco-terrorism, guilt and paranoia, fits."]

Davis, Peter. "When Hollywood Wasn’t So Male." The Nation (February 11, 2015)

Denis, Claire. "In Dialogue with Eric Hynes." (Posted on Youtube: July 15, 2013) ["Claire Denis joins writer/critic Eric Hynes in a discussion of her creative process, influences, and the films she's made over the course of some 25 years."]

Derr, Holly L. "What Really Makes a Film Feminist?" The Atlantic (November 13, 2013)

"Diminished Lives." Cineaste (Summer 2015)

Directed by Women (Website)

Dirik, Dilar, et al. "Stateless Democracy: The Revolution in Rojava Kurdistan." (New World Academy posted on Vimeo: October 21, 2014) ["The fight against the Islamic State of Iraq and Syria (ISIS) has often been portrayed as a fight between the West and its Arab allies against Islamic ultra-fundamentalists. Over the last several years, however, a progressive Kurdish-led resistance has been forming in Rojava (Syrian Kurdistan) amidst the Syrian Civil War. The resistance has successfully implemented new models of grassroots democracy, gender equality, and sustainable ecology, its members practicing a political project they refer to as Democratic Confederalism. Women and men stand side-by-side in its armed forces in the face of both ISIS and the Bashar al-Assad regime. Despite the resistance’s efforts, Rojava is currently threatened by a massacre, and the international community continues to stand by silently as tragedy unfolds."]

Dockterman, Eliana. "Vagina Monologues Writer Eve Ensler: How Mad Max: Fury Road Became a ‘Feminist Action Film.’" Time (May 7, 2015)

Duncan, Patti. "WS 235H: Women in World Cinema." (Oregon State University Women, Gender and Sexuality Studies syllabus: Winter 2013)

Elmi, Rooney. "Women in Revolt: An International Women's Day Film Syllabus." Notebook (March 8, 2017)

Faleiro, Sonia. "India's Daughter review – this film does what the politicians should be doing." The Guardian (March 5, 2015)

Friedrichs, Ellen. "3 Well-Meaning Assumptions About Women You Never Realized Were Sexist." Everday Feminism (May 4, 2015)

Gallagher, Kelly. "The Herstory of the Female Filmmaker." (Posted on Vimeo: September 2016)

Goldberg, Michelle. "The Laura Kipnis Melodrama." The Nation (March 16, 2015)

Grady, Pam. "French Touch: Mia Hansen-Løve and Eden." Keyframe (June 17, 2015)

Gravely, Brittany. "To the Beat of Shirley Clarke." Harvard Film Archive (March 2015)

Greenhouse, Linda. "The Bittersweet Victories of Women." The New York Review of Books (May 26, 2016)

---. "How Smart Women Got the Chance." The New York Review of Books (April 6, 2017)

Gross, Anisse. "Mary Harron [Screenwriter, Director]." The Believer (March/April 2014)

Harvey, Dennis. "DAISIES’ Chain: Czech New Wave High Points." Keyframe (June 7, 2012) ["A Pacific Film Archive series with two Věra Chytilová classics highlights an unforgettable era."]

Hill, Erin and Brian Hu. "In Response to the AFI: Top 100 American Films by Women Directors." Mediascape (Spring 2007)

hooks, bell. "The Oppositional Gaze." Black Looks: Race and Representation South End Press, 1992: 115-131.

Hrapkowicz, Błażej. "Kelly Reichardt: Ambiguities." Ketframe (March 5, 2014) ["On bad dreams, political predicaments and fine lines: a master filmmaker speaks on her new project."]

Hudson, David. “Agnès Varda in California.” Keyframe (August 17, 2015)

---. "Věra Chytilová, 1929 – 2014." Keyframe (March 12, 2014) ["Best known for DAISIES (1966), Chytilová was a major figure in Czech cinema."]

India's Daughter (UK/India: Leslee Udwin, 2014: 64 mins)

Jaising, Shakti. "Cinema and Neoliberalism: Network Form and the Politics of Connection in Icíar Bollaín’s Even the Rain." Jump Cut #56 (Winter 2014/2015)

Jelincic, Stela. "Celebrating the Six Percent: Women Filmmakers." Keyframe (March 2, 2015)

Kent, Jennifer. "Babadook." Final Cut (January 1, 2015)

Koerner, Claudia and Ema O'Connor. "The Military's Nude Photo Scandal Goes Beyond Just the Marines." BuzzFeed (March 10, 2017) ["The Defense Department is investigating after members of the military allegedly shared nude photos of their female colleagues online without their permission or knowledge."]

Kolb, Leigh. "Advantageous Is a Dystopian Sci-Fi About All-Too-Real Beauty Standards." Bitch (July 9, 2015)

Langill, Molly. "‘Mad Women’ in Robert Altman’s 3 Women and Images." Offscreen 18.8 (August 2014)

"Laura Poitras." Close Up #2 (October 2014) ["Laura Poitras talks CITIZENFOUR, Edward Snowden, the NSA, and surveilance, at one of our HBO Directors Dialogues during the 52nd New York Film Festival."]

LaVelle, Ciara, et al. "Mad Men and the Advertising Age." Popaganda (April 23, 2015)

Lee, Kevin B. "Essential Viewing: Claire Denis on 35 Shots of Rum." Keyframe (August 9, 2011)

Leigh, Jennifer Jason. "Mrs. Parker and the Vicious Circle." Pinewood Dialogues (November 23, 1994) ["Jennifer Jason Leigh is remarkable for her chameleon-like ability to transform herself, physically and psychologically, for each of her roles. Her ability to inhabit her characters comes from an intensive process of preparation and research, and from a fearlessness that allows her to abandon her reflective personality and become another person onscreen. Leigh has consistently sought out risky, interesting roles, working for such directors as Robert Altman, David Cronenberg, and Alan Rudolph. She spoke at the Museum on the day she received rave reviews for her dazzling portrayal of Dorothy Parker in Mrs. Parker and the Vicious Circle."]

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

Littman, Sam. "Great Directors: Kelly Reichardt." Senses of Cinema (June 2014)

Longworth, Karina. "Veronica Lake (Dead Blondes Episode 4)." You Must Remember This (February 20, 2017) ["Veronica Lake had the most famous hairdo of the 1940s, if not the twentieth century. Her star turn in Preston Sturges’ Sullivan’s Travels and her noir pairings with Alan Ladd made her Paramount’s biggest wartime draw behind Hope and Crosby, but behind the scenes, Lake was a loner with a drinking problem who didn’t give an F about Hollywood etiquette. Bankrupt and without a studio contract, in the early 1950s she consciously quit movies. She claimed she left Hollywood to save her own life -- so how did she end up dead at 50?"]

López, Cristina Álvarez. "Ratcatcher: Tell Me Where It Hurts." Keyframe (April 7, 2015)

Lowin, Rebekah. "Mom's powerful photos of her daughters show 'Strong is the New Pretty.'" Today (April 7, 2015)

MacLean, Nancy. The American Women's Movement, 1945-2000 MacMillan, 2009. [Professor has a copy]

May, Elaine and Mike Nichols. "Mike Nichols, Part 1." Close Up #6a (December 2014) ["In this special two-part episode of The Close-Up, we pay tribute to the late Mike Nichols. For Part 1, we present a conversation between Mike Nichols and Elaine May after a screening of May's "Ishtar" here at the Film Society of Lincoln Center in 2006."]

Mayer, Sophie. "'She's getting back in the frame': Interview with Céline Sciamma." The F Word (May 5, 2015)

McCahill, Mike. "21st Century Directors You Need to Know About: Andrea Arnold." Movie Mail (February 27, 2014)

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

Mesle, Sarah. "'High Sparrow': Cersei Lannister’s Last F–ckable Day." LA Review of Books (April 26, 2015)

Mirk, Sarah. "Female Film Directors Put Together a List of Must-See Movies Made By Women." Bitch (July 8, 2015)

Mulvey, Laura. ""Afterthoughts on 'Visual Pleasure and Narrative Cinema." Feminist Film Theory ed. Sue Thronham. New York University Press, 1999: 122–30.

---. "In Conversation with Laura Mulvey." Another Gaze Journal (Posted on Youtube: March 7, 2017) ["My shift in spectatorship came very specifically out of the influence of the Women's Movement. Instead of being an absorbed spectator; a voyeuristic spectator; a male spectator, as it were, I suddenly found I'd become a woman spectator, who watched the film from a distance, not with those absorbed eyes.' Laura Mulvey is a feminist film theorist, whose seminal text 'Visual Pleasures and Narrative Cinema' instigated what is now known as 'male gaze' theory. Together with Peter Wollen, she also made many experimental films in the '70s and '80s. Here she talks Freud; Hollywood; her own counter-cinema; Frida Kahlo, and a shift to active spectatorship."]

---. "Visual Pleasure and Narrative Cinema." Feminist Film Theory ed. Sue Thornham. NYU Press, 1999: 58-69.

Murray, Terri and Anja Steinbauer. "Feminist Film Theory." Philosophy Now #7 (September 13, 2011)

"My Reaction to Mad Max: Fury Road and the Utter Perfection that is Imperator Furiosa." NOSPOCKDASGAY@TUMBLR.COM (May 19, 2015)

Nastasi, Alison. "50 Essential Feminist Films." Flavorwire (July 18, 2014)

---. "50 Groundbreaking Female Film Artists We’re Thankful For." Flavorwire (November 25, 2014)

Nehme, Farran Smith. "Three Strangers." The Cinephiliacs #^ (October 21, 2012)

Panda, Robo. "Men’s Rights Activist Site Calls For A Boycott Of Mad Max: Fury Road." Uproxx (May 13, 2015)

Pate, SooJin. "More Than Words: Microaggressions." Sociological Cinema (March 2, 2014)

"Patrizia von Brandenstein." Moving Image Sources (October 15, 1994) ["When we comment on the look of a movie, or on the beautiful cinematography, we are often commenting on what the production designer, working with the director and cinematographer, has put there to be photographed. Legendary designer Patrizia von Brandenstein has shown a remarkable range, from the period settings of Ragtime and Billy Bathgate to the swank Manhattan interiors of Six Degrees of Separation to the weather-beaten and far less sumptuous interiors of Leap of Faith and Silkwood. In this presentation, von Brandenstein leads the audience through sequences from her work, and lucidly defines the art of production design."]

Pinn, Marcus, Brian Risselda and Josh Ryan. "Kelly Reichardt." Syndrome and a Cinema #11 (June 28, 2014)

Porter, Evan. "An artist replaced the men in these classic Westerns with women. The images are awesome." Upworthy (March 7, 2017)

Pulver, Andrew. "Films that pass the Bechdel test plummet in 2014." The Guardian (March 24, 2015) ["The number of films featuring positive depictions of women has dropped significantly, according to new research."]

The Punk Singer (USA: Sinia Anderson, 2013: 81 mins)

Rahbar, Jean. "U.S. ambivalence about torture: an analysis of post-9/11 films." Jump Cut #56 (Winter 2014/2015)

Rapold, Nicholas. "An Audience for Free Spirits in a Closed Society." The New York Times (July 1, 2012)

---."Chantal Akerman Takes Emotional Path in Film About 'Maman'." The New York Times (August 6, 2015)

Rhodes, John David. "Great Directors: Peggy Ahwesh." Senses of Cinema (December 2003)

Richter, Nicole. "Filming the Impossible: An Interview with Catherine Breillat." Reverse Shot (May 19, 2015)

Risselada, Brian and Josh Ryan. "Larissa Sheptiko." Syndromes and Cinema #8 (March 29, 2014) ["On this episode we talk about the films of Ukrainian born director Larisa Shepitko. In particular we look at her films Homeland of Electricity which is half of the film The Onset Of An Unknown Age (1967), You and Me (1971) and The Ascent (1977)."]

Rirch, Katey. "Take This Waltz." The Cinephiliacs (December 16, 2012)

Rogers, Nathaniel. "Women's Pictures - Agnes Varda's Le Bonheur." The Film Experience (June 19, 2015)

Romney, Jonathan. "Away from the picture: Mica Levi on her Under the Skin soundtrack." Sight and Sound (November 28, 2014)

---. "The stars of Girlhood: ‘Our poster is all over Paris, with four black faces on it…’" The Guardian (March 4, 2014)

Sarmiento, Jose. "Scopophile's Redemption: On Laura Mulvey and Peter Wollen's Riddles of the Sphinx." Keyframe (March 16, 2017)

Selby, Jenn. "Mad Max heroine Charlize Theron on female roles in Hollywood: 'You're either a really good mother, or a really good hooker.'" The Independent (May 15, 2015)

Silverstein, Melissa. "Infographic: Cannes Women Filmmakers By the Numbers 2005-2015 #SeeHerNow." Women and Hollywood (May 6, 2015)

---. "Statistics on the State of Women and Hollywood." Women and Hollywood (February 23, 2014)

Smith, Valerie. "Reconstituting the Image: The Emergent Black Woman Director." Callaloo 37 (Autumn 1988): 709-719.

Stratton, Catherine. "Lady Lands: What we all can learn from B-movie sci-fi matriarchies." Keyframe (March 23, 2017)

---. "We Owe a Lot to Lotte Reiniger: Her enduringly beautiful early animation was at once traditional and trailblazing." Keyframe (March 16, 2017)

Tatarska, Anna. "The Making of Vilva 3.0." Keyframe (July 14, 2015) ["Ulrike Zimmerman: ‘People are afraid of female sexuality. Everyone. Even the women themselves.’"]

Taubin, Amy. "Like a Hurricane: The Diary of a Teenage Girl boldly goes where no American coming-of-age movie has gone before." Film Comment (July/August 2015)

Taylor, Astra. "On the Unschooled Life." Walker Art Center (Posted on Youtube: November 4, 2009) ["Raised by independent-thinking bohemian parents, Taylor was unschooled until age 13. Join the filmmaker as she shares her personal experiences of growing up home-schooled without a curriculum or schedule, and how it has shaped her educational philosophy and development as an artist."]

Taylor, Ella. "Blow-Up: Bechdel Testing …. 1, 2." Keyframe (May 26, 2015) ["The larger question is, should we be trying to influence or legislate how many or what kind of women characters go into a movie?"]

Telaroli, Gina. "Brigadoon." The Cinephiliacs #23 (July 28, 2013)

Temple, Emily. "15 Essays by Female Writers That Everyone Should Read." Flavorwire (February 11, 2013)

Townes, Carimah. "Why Netflix Shouldn’t Care If White Men Watch Its Newest Sci-Fi Series." Think Progress (July 8, 2015)

Vasseur, Flore. "The Woman Who Hacked Hollywood." Backchannel (March 2015) ["Laura Poitras’ name was once on terror watch lists. Now it’s on an Oscar. Here’s her personal journey."]

"Videographic screen media criticism by female critics, scholars and artists #InternationalWomensDay." Film Studies For Free (March 8, 2017)

Warne, Jude. "Ben Kingsley and Company on Learning to Drive." Film International (September 6, 2015)

Watercutter, Angela. "Ex Machina has a Serious Fembot Problem." Wired (April 9, 2015)

Wilde, Olivia. "Social Justice and the Portrayal of Women in the Media." (GRITtv posted on Youtube: February 12, 2015)

Williams, Linda. "Film Bodies: Gender, Genre, and Excess." Film Quarterly 44.4 (Summer, 1991): 2-13.

Women and Gender Studies Open Education Consortium (Archive of courses available online with resources)

!Women Art Revolution (USA: Lynn Hershman-Leeson, 2010: 83 mins)

"The Women of the Avant-Garde: An Introduction Featuring Audio by Gertrude Stein, Kathy Acker, Patti Smith & More." Open Culture (August 5, 2015)

Young, Iris Marion. On Female Body Experience: Throwing Like a Girl and Other Essays. Oxford University Press, 2005.

Yue, Genvieve. "The 17th Geneviève McMillan - Reba Stewart Fellow: Mati Diop." Harvard Film Archive (February 2015)

Zero Dark Thirty (USA: Kathryn Bigelow, 2012: 157 mins)























“I used to think I was the strangest person in the world but then I thought there are so many people in the world, there must be someone just like me who feels bizarre and flawed in the same ways I do. I would imagine her, and imagine that she must be out there thinking of me too. Well, I hope that if you are out there and read this and know that, yes, it’s true I’m here, and I’m just as strange as you.” -- Frida Kahlo

















Emma Stone, people! from Fandor on Vimeo.














Resources for February 23, 2017

Bocko, Joel. "Not Just O.J.: A seven-point survey of Ezra Edelman’s documentary epic, Made in America." Keyframe (February 21, 2017)

Drouet, Candice. "Wes Anderson's References." (Posted on Vimeo: February 18, 2017)

Gonet, Adam and Joakim Thiesen. "Vampyr." Masters of Cinema Cast #55 (February 22, 2017) ["The first sound-film by one of the greatest of all filmmakers, Vampyr offers a sensual immediacy that few, if any, works of cinema can claim to match. Legendary director Carl Theodor Dreyer leads the viewer, as though guided in a trance, through a realm akin to a waking-dream, a zone positioned somewhere between reality and the supernatural. Traveller Allan Gray (arrestingly depicted by Julian West, aka the secretive real-life Baron Nicolas de Gunzburg) arrives at a countryside inn seemingly beckoned by haunted forces. His growing acquaintance with the family who reside there soon opens up a network of uncanny associations between the dead and the living, of ghostly lore and demonology, which pull Gray ever deeper into an unsettling, and upsetting, mystery. At its core: troubled Gisèle, chaste daughter and sexual incarnation, portrayed by the great, cursed Sybille Schmitz (Diary of a Lost Girl, and inspiration for Fassbinder’s Veronika Voss.) Before the candles of Vampyr exhaust themselves, Allan Gray and the viewer alike come eye-to-eye with Fate — in the face of dear dying Sybille, in the blasphemed bodies of horrific bat-men, in the charged and mortal act of asphyxiation — eye-to-eye, then, with Death — the supreme vampire. Deemed by Alfred Hitchcock ‘the only film worth watching… twice’, Vampyr’s influence has become, by now, incalculable."]

Haag, Pamela. "The Gun Myth." To the Best of Our Knowledge (May 22, 2016) ["The Western. The 2nd Amendment. Guns are a part of our national DNA - like apple pie and baseball. Pamela Haag says not so fast. In her book "The Gunning of America," she argues that early gun barons --with iconic names like Colt and Remington -- created the American gun culture. She told Charles Monroe-Kane to look no further than the Rifle King himself, the manufacturer of the Winchester Repeater Rifle, Oliver Winchester."]

Hedges, Chris. "James Baldwin and the Meaning of Whiteness." Truthdig (February 19, 2017)

Heller, Jason. "Finnish Authors Heat the Speculative Fiction World." NPR (January 24, 2016)

Hudson, David. "Best of 2016, Last Call (Countdown to Oscars)." Keyframe (February 21, 2017)

Koski, Genevieve, Keith Phipps and Scott Tobias. "Batman (1989) / The Lego Batman Movie (Pt. 1)." The Next Picture Show #64 (February 21, 2017) ["This week’s show tells a tale of two Batmen — plus a whole bunch of other Batmen in between. The success of the new family-friendly LEGO BATMAN MOVIE inspired us to go back to a very different earlier iteration of The Caped Crusader: Tim Burton’s 1989 series-starter BATMAN, which took the comic-book hero into darker realms than he’d previously occupied onscreen. In this half, we talk about how Burton and Michael Keaton’s vision for the character functions in the larger context of Batman adaptations over the years, as well as Burton’s subsequent career. "]

---. "Batman (1989) / The Lego Batman Movie (Pt. 2)." The Next Picture Show #65 (February 23, 2017) ["Tim Burton’s BATMAN kick-started the cinematic and pop-culture proliferation of the now-ubiquitous Batman, who today can not only sustain multiple movies at once, but also provides ample fodder for the reference-happy new THE LEGO BATMAN MOVIE. In this half of our discussion of all things Batmen, we talk about all the ways LEGO BATMAN draws on — and benefits from — the character’s long history, and consider how the larger Bat Universe has evolved on film since Burton’s day."]

Longworth, Karina. "Veronica Lake (Dead Blondes Episode 4)." You Must Remember This (February 20, 2017) ["Veronica Lake had the most famous hairdo of the 1940s, if not the twentieth century. Her star turn in Preston Sturges’ Sullivan’s Travels and her noir pairings with Alan Ladd made her Paramount’s biggest wartime draw behind Hope and Crosby, but behind the scenes, Lake was a loner with a drinking problem who didn’t give an F about Hollywood etiquette. Bankrupt and without a studio contract, in the early 1950s she consciously quit movies. She claimed she left Hollywood to save her own life -- so how did she end up dead at 50?"]

Monday, February 20, 2017

Resources for February 20, 2017

Benton, Michael. Recommended Films from the 1930s to the Present Dialogic Cinephilia (Ongoing Archive)

Brubaker, Philip. "And Bob's Your Streaker: The man behind the greatest of all unscripted Oscars moments." Keyframe (February 17, 2017)

Dickey, Colin. "A View to a Kill: By focusing on high-definition thrills, nature documentaries obscure more than they reveal." The New Republic (January 14, 2017)

Hart, David and Derek Stuart. "Last Temptation of Christ and Temptation." Pop Culture Case Study #205 (January 26, 2017)

Oremus, Will, et al. "Leak State." On the Media (February 17, 2017) ["Republicans decry the leakers; Democrats applaud them...oh, how the tables have turned. How to make sense of the Flynn affair and revelations about the Trump team's communications with Russia. Plus, the steady stream of information from within the government has the media debating the power of the so-called “Deep State” -- invisible officials pulling the strings. Also, deploying the word "treason" with care, what Slobodan Milošević teaches us about Donald Trump, and what Hugo Chávez does not."]

Peabody, Fred. "Through the Lens: All Governments Lie." Radio West (February 1, 2017) ["we continue our Through the Lens series with Fred Peabody’s documentary film All Governments Lie. It’s inspired by the work of I.F. Stone, an investigative journalist and gadfly in the early 1950s to the `70s. Stone’s modern torchbearers—journalists like Matt Taibbi, Glenn Greenwald, Amy Goodman and others profiled in the film—produce their adversarial journalism outside mainstream media. Peabody joins us Wednesday to discuss the value of alternative news and the role of independent journalists."]

Slover, Tim. "Plan-B Theatre Company: Virtue." Radio West (February 17, 2017) ["Hildegard of Bingen was a 12th century abbess, composer, healer, and visionary. Everyone from the Pope to the lowliest novitiate believed she was in direct communication with God. But mid-life, Hildegard's visions changed, and some historians believe it was because she fell in love with another woman. The story is the basis of Utah playwright Tim Slover’s latest work, and Friday, we’re talking about this fascinating woman, and the search for balance between spirituality and the gift of love."]


ALL GOVERNMENTS LIE: Truth, Deception, and the Spirit of I.F. Stone (Trailer) from WhitePinePictures on Vimeo.






Saturday, February 18, 2017

Resources for February 18, 2017

"Heteropatriarchy is the logic by which all other forms of social hierarchy become naturalized… The same logic underlying the belief that men should dominate women on the basis of biology underlies the belief that the elites of a society naturally dominate everyone else[…]we must develop strategies that address state violence and interpersonal violence simultaneously." --  Smith, Andrea. "Preface" to The Revolution Starts at Home: Confronting Intimate Violence within Activist CommunitiesAK Press (August 22, 2016) [Quoted in Corinne Manning's "Ideal Lover." (2017)]

Bradley, S.A. and James Hancock. "A Good Cast is Worth Repeating, Part II: Tod Browning." Hellbent for Horror #31 (January 26, 2017)

Brooks, Brian. "Liv Ullmann On Love, Passion, Isolation and Friendship in Documentary Liv & Ingmar." FilmLinc Daily (December 12, 2013)

Orr, Niela. "The Defiant I Am Not Your Negro." The Baffler (February 10, 2017)

Strahan, Jonathan, Liza Groen Trombi and Gary Wolfe. "The Locus Year in Review." The Coode Street Podcast (February 13, 2017) ["For our 299th episode, we are joined once again by Locus editor-in-chief Liza Groen Trombi for our annual discussion of the Locus Magazine recommended reading list, covering the history of how the list evolved, who participates in compiling it, what its purpose is, and what our own thoughts are about the titles included this year in the book categories of the list(included the newly reinstated Horror Novel category). We also pay a brief tribute to our old friend and former Locus columnist Ed Bryant, who passed away earlier this week."]

Woubshet, Dagmawi. "The Imperfect Power of I Am Not Your Negro." The Atlantic (February 8, 2017) ["Raoul Peck’s documentary brings to life James Baldwin’s urgent ideas about race in America, even if it leaves out a key aspect of the writer’s life and work: his sexuality."]

Wu, Tim. "The Attention Merchants." Radio West (November 14, 2016) ["Wherever you turn these days, commercials, sponsored social media, and other advertising efforts await your attention. The influential thinker Tim Wu says we have the “attention merchants” to thank for that. In a new book, Wu argues that the concerted efforts of advertisers to attract our attention at every opportunity has made us more distracted and less focused than ever before."]


Is this the real life? Is this just fantasy?
Caught in a landslide, No escape from reality
Open your eyes and see....
(Queen, Bohemian Rhapsody)





Michael Shannon Is Good and Busy from Fandor on Vimeo.






Tuesday, February 14, 2017

Hot Fuzz (UK/France: Edgar Wright, 2007)




Hot Fuzz (UK/France: Edgar Wright, 2007: 121 mins)

Chen, David. "Edgar Wright and the Art of Close Ups." (Posted on Vimeo: 2014)

Hancock, James and Kyle Reardon. "Edgar Wright's Cornetto Trilogy." Wrong Reel #142 (June 6, 2016)

Helsby, Wendy. "Constables, Coppers, Rozzers, the Old Bill--The Police." Understanding Representation. ed. Wendy Helsby. London: BFI, 2005: 75-92. [Available in BCTC Library PN 1995 U4977 2005]

Kiralee. "Scene Deconstruction: Hot Fuzz." Kiralee's Blog (September 24, 2015)

Lyle, Michael J. "An analysis of Hot Fuzz using Christopher Vogler’s The Writer’s Journey and Save The Cat by Blake Snyder." The Column (January 17, 2013)

Strucci, Shannon. "How Hot Fuzz Changed My Life." (Posted on Youtube: April 30, 2016)

Zhou, Tony. "Edgar Wright: How to Do Visual Comedy." (Posted on Vimeo: May 2014)




Monday, February 13, 2017

Resources for February 13, 2017

"7 Google Tips to Search Like a Boss." Teach Thought (October 10, 2013)

Bromley, Patrick and Rob DiCristino. "Chasing Amy." F This Movie! (January 25, 2017)

Brubaker, Philip. "Oscar to Oscar: Black Auteurs and the Academy." Keyframe (February 9, 2017)

Freedman, Carl. "Hobbes After Marx, Scorsese After Coppola: On GoodFellas." Film International 9.1 (2011)

---. "The Supplement of Coppola: Primitive Accumulation and the Godfather Trilogy." Film International 9.1 (2011)

Frezza, L.J. "Yorgos Lanthimos and the Authoritarian Personality: Just in case we need a refresher on the absurd and violent limits of social control." Keyframe (February 9, 2017)

Esposito, John L. "'You've Got to Be Taught to Hate and Fear': The Islamophobia Machine." Pluto Press Blog (February 1, 2017)

"What We Know About the Border." On the Media (February 8, 2017) ["The Trump administration's so-called "Muslim ban" has created chaos and confusion at airports around the country, but horror stories at the border go back much further than this year. In 2014, we devoted an hour to trying to shred the veil of secrecy obscuring Customs and Border Protection, the huge police force tasked with guarding our borders. We discovered a lack of basic rights and accountability, along with countless stories of dehumanizing detentions and intrusions that thrive within a massive legal grey area."]