Monday, February 6, 2017

Aaron Harlow: "School of Rock: An Illustration of Education and the American Dream" (ENG 102: Spring 2017)

Aaron Harlow
English 102
"School of Rock: An Illustration of Education and the American Dream"





                There are many ways in which educational institutions push the norms of society on children.  Most of what we call education today is simply overloading kids with information they don't know how to use and expect them to recite it on paper.  The teachers don't reach out to the kids like they should, much of it is, in sociological terms, instrumental leadership (a more task oriented form of leadership),  rather than expressive leadership (leadership that exchanges thoughts and ideas), which would be the preferred method.
                Then there are the norms that society pushes on grown adults after they get out of school, such as go to college, get a nice house, start a family, be "successful."  In other words, live the American Dream, and anyone who doesn't strive to achieve it is harshly criticized and often viewed as a failure.
                Richard Linklater's 2003 film, School of Rock addresses both of those issues, and shows how they are affecting society today.  In School of Rock, Jack Black plays Dewey Finn, an unsuccessful rock musician who gets kicked out of his band, No Vacancy, and replaced due to his over-zealous performance.  Dewey doesn't have a job or ambition, and lives with his friend, Ned and Ned's girlfriend, Patty.  Patty portrays how society would generally look down upon people like Dewey.  He is just a loser with no accomplishments or any reasonable goals, and he should get a life, stop mooching off of his friends, and be more like Ned, who has a teaching career.  She is an accurate depiction of how judgmental many of us are in society.  Ned, with his lack of confidence, reluctantly sides with Patty.  Ned represents the conformist.  He doesn't stand up for himself (until the end, when he finally shuts the door in Patty's face), and is an ideal image of what is expected of us in society, even though deep down he admires Dewey and misses his life as a bassist, when it was more exciting.  Dewey represents the rebel, the one parents teach their kids not to be, with either no stable income, or doesn't make an honest living.  When Dewey pretends to be Ned and accepts his offer to substitute for a very prestigious elementary school, Dewey simply slacks off and ignores the kids at first.  But then one day he sees the kids in their music class and is amazed at their musical ability.  He then turns the class into a rock band, and instead of teaching them the standardized curriculum, he teaches them the origins of rock and roll, and all the bands that inspired the movement, such as Led Zeppelin, AC/DC, The Rolling Stones, etc.  He also teaches the kids the attitude of rock and roll, which is to "stick it to the man" so the kids start to become more rebellious as well.  He trains the kids on stage performance as well, all with the intent to win battle of the bands to show up No Vacancy.  The principal, Roz, can also be a representation of the conformist.  She is strict and serious on the surface, but later opens up to Dewey that she was once fun and had a more colorful life, and that she doesn't like what she's become and gets overwhelmed with the stress of running a school that holds such high expectations.
                The movie was intended to prove that you don't have to conform to be successful or live a good life.  At the end of the movie, Dewey held an after school activity where the kids could play rock and roll songs and help improve their performance.  Although Dewey's behavior was not entirely ethical, he inspired the kids with musical ability to flaunt their talents and encouraged them to expand their horizons.  He made them comfortable with who they were, as with the girl that was self-conscious about performing because of her weight, and expressing their talents. 
                It is possible that Richard Linklater named Dewey after John Dewey, a famous philosopher and activist of educational reform throughout the late nineteenth and early twentieth century.  If you juxtapose both of their ideals, Dewey's teachings  were remarkably similar to those of Jack Black's character, as both were proponents of exchange of ideas and creativity.  They both seemed to embrace the practice of abandoning habits, as John Dewey's belief was that man behaved out of habit, and enforcing change is what could cause him to think more creatively (Biography.com).
                Dewey is the missing link in the educational system.  He is the enthusiasm that kids should have, the encouragement and motivation that is not displayed enough in most public schools, which is a leading factor to the high school drop out rate.  Over twenty-five percent of dropouts admitted that they dropped out of school because of being bored.  Although there are many socioeconomic factors involved with the high school dropout rate, boredom is a common problem which can easily be remedied by enhancing student teacher interaction (Skye).  Who wouldn't get bored listening to some teacher drone on about a subject with which they have no apparent interest?  If kids are bored, they are obviously not learning anything.  Just because a student isn't making passable grades on a test does not mean they aren't learning anything in that subject.  Vice versa, just because a student is receiving decent grades, that doesn't necessarily mean that they are learning anything either. 
                On the other hand, you would be surprised to see how many high school dropouts have led productive lives.  Some of the most notable geniuses, such Ben Franklin and Thomas Edison did not go through a structured educational system, as well as our founding fathers.  So how did they do it?  The schools' advertised purposes are to make them into good people, good citizens, and to make kids acheive their personal best.  But according to Alexander Inglis, schools have six hidden intentions.  The first is to get kids reactive to an authoritative state.  The second is to get them to conform.  They  must then calculate their social role where they will be trained accordingly.  Then they label the failing kids with special programs to alienate them from the rest of the class.  Finally, there must be a small group of kids trained to manage the dumbed down majority (Gatto).  In short, the educational system is carefully regulated to train kids to be peasant-minded enough to be able to produce and stimulate the economy.  That is the main interest, not the children's well-being and education.
                Another main point School of Rock highlights is how people are judged in society for not aiming to achieve the standards of the "American Dream."  What is the American Dream?  The term originated in 1931 by James Tuslow and by definition refers to an ideal life of material comfort and personal happiness.  It is the life for which each individual in the United States aims.  And it has devolved to have an almost hypnotic effect on many Americans.  In this film, Dewey is basically the opposite of such a life.  He is the bum that has no direction or ambition.  While it is necessary to have these things to succeed, to simply push one's own ideal perception of life on kids can have a negative impact and cause a lot of stress on a kid.
                The American Dream plays a role on public education in that it pushes the intent of turning kids into democratic citizens.  Schools also have an agenda for pushing their kids to be successful.  There are, however, different interpretations of success.  One refers to absolute success, which is being at a higher state of welfare than where one started.  The other is relative success, which is comparative in the sense that it focuses on attaining more than others, such as parents, classmates, colleagues, etc. (Hochschild, 9-12).  The American dream, and its promise for equal opportunity of "success", however one may define it, has therefore placed a tremendous burden on kid's  education.
                Parents' expectations for schools can reflect on how they remember school.  A majority of parents have been reported to show the most concern on issues such as violence and lack of discipline, and only eight percent of respondents said the major issue was the quality of education (Hochschild, 80).  Keep in mind that the quality of education is not limited to the content of the cirriculum, but the way it is taught is also key.
                The United States is globally ranked 17th in education.  The reason for this, according to a report by the Economist Intelligence Unit, is due to the level of importance the nation places on education.  According to this study, better teaching methods have been known to improve one's social results in ways such as preventing teen pregnancy and better financial skills.  Schools also need to fine tune their curriculum to accommodate for technological advances (Gayathri).  With that in mind, it is obvious that students respond better to a teacher that they can identify with easier.  It helps them out in life and helps them shape their perspective and think differently about their future.  If you think back to your favorite subject in school, you will find that your fond memories of the subject will often be associated with the person who taught it.  Now imagine if every one of your subjects had a teacher like that.

                In summary, School of Rock has helped shed light on a very important issue.  It is that kids getting overloaded with information they don't know what to do with is  what passes for education in the United States.  We see a high percentage of high school dropouts resulting from kids getting bored in school,  which is easily avoidable simply by enforcing more effective teaching methods.  Also, it has been proven throughout history that some of the most productive and effective members of society had very little, if any, structured schooling.  Our idealistic American Dream is suppressing kids from striving for more, and not aiming to improve the kids as individuals, but is more an effort to mold them into being another slave to the democratic machine, as well as judging others that don't pursue it.  Educational reform is necessary, and we shouldn't rely on schools too much to raise our kids for us.  If you feel as though your child or children are not learning anything, address the issue with the school and see what can be done to improve it.  Pull your kids out of school and teach them yourself if you have to.  If kids are not processing information the teachers present them with, it may not be their fault.    Students need a teacher with an expressed passion for the subject they are teaching, and a willingness to work one on one with the kids to help them improve themselves.  They need a Dewey Finn.

Works Cited


Gatto, John Taylor.  "How Public Education Cripples Our Kids, and Why."  The Natural Child Project.  The Natural Child Project, 1996-2016, http://www.naturalchild.org/guest/john_gatto2.html

Gayathri, Amrutha.  "U.S. 17th In Global Education Ranking; Finland, South Korea Claim Top Spots."  International Business Times.  IBT Media, Inc., 2017 http://www.ibtimes.com/us-17th-global-education-ranking-finland-south-korea-claim-top-spots-901538

Gould, Skye and Chris Weller.  "The most common reasons students drop out of high school are heartbreaking."  Business Insider.  Business Insider Inc., Oct. 1, 2015, http://www.businessinsider.com/most-common-reasons-students-drop-out-of-high-school-2015-10.  Retrieved January 27, 2017.

Hochschild, Jennifer and Scovronick, Nathan.  The American Dream and Public Schools.  Oxford University Press, Inc., 2003.

"John Dewey Biography."  The Biography.com Website.   A&E Television Networks, April 2, 2014 http://www.biography.com/people/john-dewey-9273497#later-life-and-death.  Retrieved January 28, 2017.

Resources for February 6, 2017

Alstad, Lizzi, Jared Gores and Joe Pudas. "Hidden Figures." Reel Fanatics #450 (February 2, 2017)

Cargill, Robert C. and Brian Salisbury. "Hackers." Junk Food Cinema (February 2, 2017) ["

Fritsche, Tom. "Woyzeck, When the Stars Align." Keyframe (May 1, 2014)

Hart, David and Christopher Maynard. "Gone Girl and Manipulation." Pop Culture Case Study #178 (October 6, 2016) ["In this episode, Dave talks about manipulation and psychopathy at length, including how it is used in correctional facilities. Then, return guest Christopher Maynard of Following Films shows up to talk about the best romance of 2014. Yes, really. Gone Girl is romantic. Listen, and let us prove it to you!"]

Hart, David and Samantha Sanders. "Elle." Pop Culture Case Study #204 (January 23, 2017)

Lindbergs, Kimberly. "The Search for Common Ground: A Separation (2011)." Streamline (February 2, 2017)

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











Thursday, February 2, 2017

A Separation (Iran: Asghar Farhadi, 2011)




A Separation (Iran: Ashgar Farhadi, 2011: 123 mins)

Bradshaw, Peter. "A Separation: A Review." The Guardian (June 30, 2011)

Burke, Joseph. "Rediscovering Morality Through Ashgar Farhadi's A Separation." Senses of Cinema (December 2011)

Digging Deeper. "A Separation: A Man-Made Divide." (Posted on Youtube: May 5, 2016)

Ebert, Roger. "A Separation." Chicago Sun-Times (January 25, 2012)

Insdorf, Annette. Cinematic Overtures: How to Read Opening Scenes. Columbia University Press, 2017. ["Your professor has a copy of this book."]

Lindbergs, Kimberly. "The Search for Common Ground: A Separation (2011)." Streamline (February 2, 2017)

O'Hehir, Andrew. "Dazzling Iranian drama A Separation: Part Hitchcock mystery, part scathing social critique, a must-see." Salon (December 30, 2012)

Powers, John. "A Separation of Hearts, Minds and Ideas in Iran." NPR (January 17, 2012)

Schaefer, Donovan. "A Separation: Religion, Class, Secularism." Religion Bulletin (March 30, 2012)

White, Rob. "Institutionalized." Film Quarterly 65.3 (Spring 2012)





























Resources for February 2, 2017

Avila, Robert. "Ross McElwee and the Man Behind the Man Behind the Camera."   Keyframe (May 5, 2014)

Bradley, S.A. "Nowhere Man: The Outsider in Horror." Hell Bent for Horror #30 (January 21, 2017)
["The Us vs. Them mentality is a backdrop for some really good horror stories. Frankenstein being a great example. The Monster is the outsider, but yet you sympathize with him. In these conflicts, horror is uniquely suited to tell some great stories, and give different results. What makes THEM…them? How easily can WE become THEM? “Civilized” society is a tough path to tread. In this episode I talk about Horror and the outsider. I bring up Frankenstein and then go from short stories to little known movies to popular movies of the last decade."]

Hancock, James and Kyle Reardon. "In Praise of Park Chan-wook." Wrong Reel #227 (January 2017)

Kiefer, Jonathan. "Are We Doing This Again: Groundhog Day and the Power of the Replay." Keyframe (February 2, 2017)

Naremore, James and Lady P. "Touch of Evil." Flixwise #58 (January 31, 2017)  ["Lady P and Naremore delve into Welles stylistic choices, and how they differ from some of Welles’ previous Hollywood pictures. They talk about the terrific performances from both the lead actors and the supporting players, and of course the screen-scorching presence of Marlene Dietrich. For the second topic, they move on to another iconic Welles character: Harry Lime. The purpose of art in today’s scary political climate is a popular topic kicking around online magazines and social media feeds. Some articles have even suggested that these times of great tumult may prove a boon to artists, because, apparently, social revolt is grist to the mill for creative types. This sentiment echoes Harry Lime’s “Cuckoo Clock” speech from Carol Reed’s 1949 classic, The Third Man in which he makes a claim that great cultural works are produced primarily as a result of war and strife. Lady P and Naremore revisit this infamous speech, and discuss whether its central argument still holds any merit today, and perhaps more significantly, whether it ever held any merit at all."]

Smith, Adam. "Trespass Against Us." Film School (January 13, 2017) ["TRESPASS AGAINST US is set across three generations of the Cutler family who live as outlaws in their own anarchic corner of Britain’s richest countryside. Chad Cutler (Michael Fassbender) is heir apparent to his bruising criminal father, Colby (Brendan Gleeson) and has been groomed to spend his life hunting, thieving and tormenting the police. But with his own son, Tyson (Georgie Smith) coming of age, Chad soon finds himself locked in a battle with his father for the future of his young family. When Colby learns of Chad’s dreams for another life he sets out to tie his son and grandson into the archaic order that has bound the Cutler family for generations. He engineers a spectacular piece of criminal business involving a heist, a high-speed car chase and a manhunt, which leaves Chad bruised and bloodied and with his very freedom at stake. With the law cracking down and his father tightening his grip, Chad is forced into increasingly desperate measures. Featuring incredible performances – and an astonishing score by The Chemical Brothers – TRESPASS AGAINST US is at once an exhilarating crime thriller and a profoundly moving story about love and family. TRESPASS AGAINST US director ADAM SMITH (Director) is an award-winning film, television drama, documentary and music-video director. Smith is best known for his long-term collaboration with the Chemical Brothers, and the critically acclaimed concert film Chemical Brothers: Don’t Think he directed. Director Adam Smith joins us to talk about his feature film debut and the riveting performances turned in by his three lead performers."]

Smith, Nathan. "About That George Michael Joke in La La Land: And the Matter of Artistic Seriousness." Keyframe (December 27, 2016)





[De Palma's] VISION from A. Martin & C. Álvarez López on Vimeo.






Wednesday, February 1, 2017

Scarface (USA: Brian De Palma, 1983)




Scarface (USA: Brian De Palma, 1983: 170 mins)

Baumbach, Noah, et al. "Brian De Palma." Film Comment Podcast (June 3, 2016)

Bocko, Joel. "Directed by Brian De Palma." IndieWire (April 2013)

Bossche, David Vanden. "Brian De Palma's Steadicam and the Definition of Genre." Photogénie (May 23, 2018)

Ebert, Roger. "Great Movie: Scarface." Chicago Sun-Times (September 28, 2003)

Herros, Ibon. "The Art of Brian De Palma."  (Posted on Vimeo: 2013)

Martin, Adrian and Cristina Álvarez López. "[De Palma's] Vision." (Posted on Vimeo: 2014)

Morton, Drew. "The American Dream in Film: As the man said, ‘America’s not a country. It’s just a business.’" Keyframe (May 30, 2016)

"Movies On Trial – Scarface (1983)." Reel Fanatics (October 20, 2014)

Powers, John. "Scarface: Over-the-Top, but Ahead of Its Time." NPR (August 24, 2011)

Prince, Rob. "'Say Hello To My Little Friend': De Palma's Scarface, Cinema Spectatorship, and the Hip-Hop Gangster as Urban Superhero." (A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy: December 2009)

Scarface Critics Round Up (Ongoing Archive)

"Scarface. (1983) Brian De Palma." Filmsweep (July 27, 2011)

Uhlich, Keith. "Great Directors: Brian De Palma." Senses of Cinema (July 2003)

















Resources for February 1, 2017

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)."]

"City Lights Resistance Reading List." Abandon All Despair Ye Who Enter Here (January 11, 2017)

Greenwald, Glenn and Murtaza Hussain. "Suspect in Quebec Mosque Attack Quickly Depicted as a Moroccan Muslim. He’s a White Nationalist." The Intercept (January 30, 2017)

Hudson, David. "Asghar Farhadi and Trumps #MuslimBan." Keyframe (January 31, 2017)

Lee, Erika, et al. "#ImmigrationSyllabus." Immigration History Research Center at the University of Minnesota and the Immigration and Ethnic History Society (January 26, 2017) ["Essential topics, readings, and multimedia that provide historical context to current debates over immigration reform, integration, and citizenship"]

Maheshwari, Laya. "The Geopolitics of Arrival." Keyframe (January 30, 2017)

Mattia, Joanna Di. "Ideas and Things: Jim Jarmusch's Paterson is not like any other film about writing that you've ever seen." Keyframe (December 27, 2016)

Nguyen, Nicole. "Teaching Homeland Security." Against the Grain (January 9, 2017) ["According to Nicole Nguyen, national security-related agencies and companies are drawing young people into a mindset of militarism and war via their involvement in homeland security programs, which have been established in dozens of public schools in the U.S. Nguyen did ethnographic work at one such high school; she reveals what the students are taught and what values and beliefs they are encouraged to adopt. Nicole Nguyen, A Curriculum of Fear: Homeland Security in U.S. Public Schools University of Minnesota Press, 2016"]

Rad American Women A-Z Video Series Abandon All Despair Ye Who Enter Here (Ongoing Archive)

Strahan, Jonathan and Gary K. Wolfe. "Politics and Science Fiction." The Coode Street Podcast (January 29, 2017) ["This week we return to the Gershwin Room to discuss what we’ve been reading lately, what we’re anticipating, what do you when you encounter a story by an idol or a good friend which isn’t quite up to standard, and what the state of political science fiction is, with both Orwell’s 1984 and Sinclair Lewis’s It Can’t Happen Here returning to the U.S. bestseller lists for the first time in decades. We also discuss political action within the science fiction field towards the end of the podcast, and touch on Norman Spinrad's new novel."]

Monday, January 30, 2017

ENG 102 Essay Examples


Ashleigh Adkins - Representation or Bust: Hollywood’s Struggle with Stigmatizing Mental Illnesses

James, Amaris. "Eat and Be Merry for Tomorrow It May Kill."

Cierra Willoughby: Saga and the Unending War (also example of Paragraph Diagram)

Charles Griffin: Living and Dying in the Valley

Gabrielle McCarty: Marketing Flesh

Beatriz Ramos Bouza: "A Revolution Within a Revolution."

Marc Jason Blunc - Derailing Snowpiercer: Descending Into the Boxcars of a Man-Made Hell

Caleb Kincaid: Rick and Morty on Personal Identity

Aaron Harlow - "School of Rock: An Illustration of Education and the American Dream"

Hailey Townsend: Walt's Will to Power

Gabe Goforth: Hunting for the Witch in Modern Society

Josh Sams: The Street Fighter Films

Whitney Williams: Mastery of Dolls

Ben Russell: The Art of Manipulation

Natalie Belfiglio: Blood in the Water

Melissa Adams: Bloody Diamonds

Douglas Allen Sutton: A Stone to Hug

Ryan Rivard: The Perdition of Madness

Ryan Rivard: Anchorman II - An Expose in Truth

Sarah Becknell: Whiplash - Perfection is Immolation

Jacob Wellman: Are We Fighting the Monsters We Created

Shella Lucas: Kennewick Man vs. The Ancient One

Katherine Merritt: The Other Holocaust

Tiffany Haggard: How to Make an American Quilt




Resources for January 31, 2017

Cassidy, Brendan, et al. "Silence; Top 5 Most Anticipated Films of 2017." InSession Film #205 (January 25, 2017)

Delgado, Mónica. "The Exquisite Quotidian: Jem Cohen." Keyframe (January 26, 2017) ["How MUSEUM HOURS turns art appreciation into moviemaking motive."]

Hancock, James and Martin Kessler. "20 Years of Resident Evil." Wrong Reel #226 (January 2017) ["Martin Kessler from Flixwise returns to review Paul W.S. Anderson’s new movie Resident Evil: The Final Chapter and to discuss the twenty year history of the Resident Evil franchise in both games and in movies."]

Klein, Naomi. The Shock Doctrine: The Rise of Disaster Capitalism. Metropolitan Books, 2007. ["Naomi Klein's The Shock Doctrine advances a truly unnerving argument: historically, while people were reeling from natural disasters, wars and economic upheavals, savvy politicians and industry leaders nefariously implemented policies that would never have passed during less muddled times. As Klein demonstrates, this reprehensible game of bait-and-switch isn't just some relic from the bad old days. It's alive and well in contemporary society, and coming soon to a disaster area near you." - Kim Hughes]

Koski, Genevieve, Keith Phipps and Scott Tobias. "The Umbrellas of Cherbourg / La La Land (Part 1)." The Next Picture Show #57 (December 27, 2016) ["Damian Chazelle’s new big-screen musical LA LA LAND takes its cues from various singing-and-dancing cinematic predecessors, but its melancholy tone is directly descended from Jacques Demy’s classic 1964 musical THE UMBRELLAS OF CHERBOURG — a Next Picture Show favorite that we dig into in this first half. We talk over the effects of the film’s sung-through style and working-class setting, and try to pinpoint that certain je ne said quoi that makes UMBRELLAS so indelible."]

---. "The Umbrellas of Cherbourg / La La Land (Part 2)." The Next Picture Show #58 (December 29, 2016) ["Our melancholy-musical double feature heads from Cherbourg, France, to Los Angeles USA, to see how Damien Chazelle’s new “modern-throwback” musical LA LA LAND stacks up against Jacques Demy’s UMBRELLAS OF CHERBOURG. We talk over LA LA LAND’s nostalgic appeal and speculate about its staying power, then compare how the two films utilize their settings, love stories, and singing to different but complementary ends."]

Labuza, Peter and Keith Uhlich. "2016 Favorites (Part 1)." The Cinephiliacs (January 5, 2017) ["In times of crisis, sometimes the easy answer is to escape to the cinema. But the movies of 2016 did not necessarily bring escape, whether it was the mortgage crisis in Texas, homophobia in Miami, or misogyny in Montana. But in these cinematic works of art, some relief or euphoria can transform real life into something more bareable (or if you're Rob Zombie, even more screwed up). Keith Uhlich joins the podcast for his 5th time to countdown the favorites of 2016. Discussions range from the nature of experimental cinema, to the nature of historical fact, to what it means to go past idenity and into specificity. Plus, Peter and Keith list their favorites repertory discoveries of the year."]

---. "2016 Favorites (Part 2)." The Cinephiliacs (January 8, 2017) ["Often, we ask questions about what can cinema do. Perhaps the more important question, however, is to ask what should cinema do. As Keith Uhlich and Peter Labuza countdown their favorite media objects of 2016, this question plays out in a myriad of discussion. From the trascendence of genre to the nature of longform, to the act of describing to the disection of popular entertainment. And finally, the two enter a long debate about the nature of non-fiction and reality, as well as the very act of seeing death in cinema. What function should the camera perform, not just for us but the people who hold it? And is there something unique about art and its function in the surrounding world?"]

Orwell, George. "Reviews Mein Kampf: “He Envisages a Horrible Brainless Empire” (1940)." Open Culture (August 19, 2014)

Friday, January 27, 2017

Resources for January 27, 2017

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

Bush, George W., et al. "The Two Georges: A Dramatic Reading of George Orwell's Classic Work 1984 & Pres. George W. Bush." Democracy Now (June 25, 2003) ["On the 100th birthday of author and journalist George Orwell, we spend the hour featuring excerpts from his classic work, "1984," the book that introduced the terms "Big Brother," "thought police," "newspeak" and "doublethink." We broadcast portions of excerpts of 1984 read by Charles Morgan and June Foray and produced by Paul Vangelisti over a quarter of a century ago for Pacifica Radio. We also feature clips from President Bush, Attorney General John Ashcroft, Secretary of State Colin Powell, Fox New’s Bill O’Relly, Defense Secretary Donald Rumsfeld, Sen. Robert Byrd and broadcast footage of Donald Rumsfeld meeting with Saddam Hussein in 1983."]

Cayley, David, et al.  "How to Think About Science, Parts 1 - 24." Ideas (January 2, 2012) ["Modern societies have tended to take science for granted as a way of knowing, ordering and controlling the world. Everything was subject to science, but science itself largely escaped scrutiny. This situation has changed dramatically in recent years. Historians, sociologists, philosophers and sometimes scientists themselves have begun to ask fundamental questions about how the institution of science is structured and how it knows what it knows. David Cayley talks to some of the leading lights of this new field of study."]

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."]

Dockrill, Pete. "NASA Just Made All the Scientific Research it Funds Available for Free." Science Alert (August 18, 2016)

"Pulp Fiction." How Is This Movie (January 9, 2017)

Rupe, Shade. "Guy Maddin's Lusty Ghosts: The Forbidden Room is haunted by the spirit of sexploitation from start to finish.'" Keyframe (September 28, 2016)

Thompson, Heather Ann. "Blood in the Water: An Author's Response." AAIHS (January 27, 2017) ["This is the final day of our roundtable on Heather Ann Thompson’s book, Blood in the Water: The Attica Prison Uprising of 1971 and Its Legacy. On Sunday, Michael Ezra introduced the roundtable and Kali Nicole Gross discussed how to approach trauma in historical writing. On Monday, Dan Berger described the book’s value within the historiography of the carceral state. On Tuesday, Danielle McGuire related Blood in the Water to a history of resistance. On Wednesday, Robert Chase placed the Attica Prison Uprising within a broader political movement. On Thursday, we featured posts from two historians, LaShawn Harris and Russell Rickford, who reflected on the legacy of the Attica Prison Uprising. In today’s final post, Dr. Thompson responds to the roundtable."]









Thursday, January 26, 2017

Wednesday, January 25, 2017

Resources for January 25, 2017

Bordwell, David. "How La La Land is Made." Observations on Film Art (January 23, 2017)

Brubaker, Philip. "How Cool is Jim Jarmusch." Keyframe (January 22, 2017)

Dixon, Wheeler Winston. "The Most Important Film Book of 2014: Film Manifestos and Global Cinema Cultures." Film International (April 28, 2014)

Eno, Brian. "‘We’ve been in decline for 40 years – Trump is a chance to rethink.'" The Guardian (January 23, 2017)

French, Alex and Howie Kahn. "Livin' Thing: An Oral History of Boogie Nights." Grantland (ND)

Knappenberger, Brian. "Sundance 2017: Nobody Speak." Radio West (January 24, 2017) ["Director Brian Knappenberger’s documentary film Nobody Speak explores the court battle between online tabloid Gawker and pro wrestler Hulk Hogan as case study, among others, of how big money can use litigation to check the freedom of the press. It also asks what a thin-skinned billionaire in the executive branch could do to media outlets that anger him."]

Longworth, Karina. "Six Degrees of Joan Crawford: Bette Davis and Whatever Happened to Baby Jane." You Must Remember This (September 5, 2016)  ["Robert Aldrich’s What Ever Happened to Baby Jane? has done more to define later generation’s ideas about who Crawford was than perhaps any other movie that she was actually in. Unfortunately, most of those ideas center around Crawford’s supposed feud with co-star Bette Davis, which began as a marketing ploy and turned into something quasi-real -- or, at least as real as certain celebrity “feuds” of today."]
Mackenzie, Scott, ed. Film Manifestos and Global Cinema Cultures: A Critical Anthology. University of California Press, 2014.

Matthews, Andrew and Erik McClanahan. "Stranger Things and the Problems with Plotblocking." The Playlist (September 2, 2016) ["This episode is inspired by a recent essay called “Stranger Things” and the Problem of Plotblocking, written by indie filmmaker Andrew Matthews (“Zero Charisma“) for the site. The more TV shows use cinematic ideas and stories — either literally with a reboot or remake, or something more indirectly paying homage à la “Stranger Things” — it may appear these disparate mediums are merging interchangeably. But movies are still capable of doing much different things than TV, and vice versa. It’s without doubt an exciting time to love visual storytelling, but the more audiences by and large seem to prefer the ease of accessibility and comforts of watching TV at home, the more movies can seem less vital. And so, Andrew and I discuss the potential problems with stretching cinematic ideas into a longer format. We’re by no means here to knock on any beloved shows (we like them too!), but instead trying to explore how this could affect audience expectations and their viewing habits while also allowing content makers to overindulge themselves, if for no other reason than to fill a longer runtime."]

Pepe, Michael. "Eating, sleeping and watching movies in the shadow of what they do: Representing capitalism in post 2008 popular films." Jump Cut #57 (Fall 2016)


Monday, January 23, 2017

Resources for January 23, 2017

"Aziz Ansari Used His Saturday Night Live Monologue to Ask Trump to Denounce 'Casual White Supremacy.'” Slate (January 22, 2017)

Benton, Michael Dean. "Professor Michael Benton." VOICEbOX (January 21, 2017)

Cargill, Robert C. and Brian Salisbury. "One Junky Summer: The Hitcher." Junk Food Cinema (September 1, 2016)

Chellas, Semi. "Matthew Weiner, The Art of Screenwriting, No. 4." The Paris Review #208 (Spring 2014)

Clusiao, Christina and Saul Schwarz. "Sundance 2017: Trophy." Radio West (January 20, 2017) ["Filmmakers Shaul Shwarz and Christina Clusiau followed hunters, breeders, and conservationists to ask what we do to save the great species of the world from extinction. The high cost of trophy hunting trips to Africa often fund conservation efforts and communities, but critics say there’s a danger in treating animals like commodities. Schwarz and Clusiau join Doug to talk about that relationship between hunting and conservation."]

El Goro and Johnnie Wolfstein. "The Night of the Hunter (1955) and Cape Fear (1962)." Talk Without Rhythm #354 (January 22, 2017)

Liang, Sean, Chris Stachiw and Zach Wickwire. "Godzilla (1954)." Kulturekast (September 1, 2016) ["Chris and Sean are joined by writer Zach Wickwire to kick-off Kaiju Movie Month with the progenitor of all Kaiju movies, Godzilla (1954). The film follows the titular monster as he wrecks havoc on the innocent people of Japan after being created by the US during the second World War."]

Luhrmann, Baz. "The Get Down." The Treatment (August 31, 2016) [""You need to learn the rules to break them!" Baz Lurhmann recalls breaking a few rules on the way to something larger than himself while growing up in the small Australian town of Herons Creek. His films Romeo + Juliet and The Great Gatsby display this very rule-bending directorial creativity which carries through to his Netflix series The Get Down – a musical drama set in 1970's South Bronx. He joins Elvis to share his thoughts on being drawn to the struggle between youth and the incumbent generation in his storytelling and discusses passing on the opportunity to direct Harry Potter."]

Popova, Maria. "Cartographer of Meaning in a Digital Age." On Being (January 5, 2017) ["She has called Brain Pickings, her invention and labor of love, a “human-powered discovery engine for interestingness.” What Maria Popova really delivers, to hundreds of thousands of people each day, is wisdom of the old-fashioned sort, presented in new-fashioned digital ways. She cross-pollinates — between philosophy and design, physics and poetry, the intellectual and the experiential. We explore her gleanings on what it means to lead a good life — intellectually, creatively, and spiritually."]






The Nice Guys (UK/USA: Shane Black, 2016)




The Nice Guys (UK/USA: Shane Black, 2016: 116 mins)

Appen, Jon Von and Erik McClanahan. "The Nice Guys/Shane Black." Adjust Your Tracking #131 (May 25, 2016)

Black, Shane. "The Nice Guys." The Treatment (May 4, 2016)

Kermode, Mark. "The Nice Guys: Sleeze and Slapstick in 70s LA." The Guardian (June 5, 2016)

Koski, Genevieve, et al. "L.A. Confidential/The Nice Guys (Pt. 2)." The Next Picture Show #30 (June 2, 2016)

Metz, Walter. "The Nice Guys (2016)." Walter's World (June 2, 2016)

The Nice Guys Critics Round Up (Ongoing Archive)

Orr, Christopher. "The Nice Guys: An Intoxicating Comic Noir." The Atlantic (May 20, 2016)

Puschak, Evan. "Movie Violence Done Right." (Posted on Youtube: August 10, 2016)

Reyes, Anton. "Shane Black is the Perfect Age for This Shit." Audiences Everywhere (May 19, 2016)

Shreve, David. "The Nice Guys Has a Hearty Laugh at Generational Condescension." Audiences Everywhere (May 20, 2016)

Tallerico, Brian. "The Nice Guys." Roger Ebert (May 20, 2016)

Willems, Patrick H. "Shane Black & the Christmas Action Movie." (Posted on Youtube: December 14, 2016)

















Friday, January 20, 2017

Resources for January 21, 2017

Auiler, Dan, et al. "Vertigo." The Projection Booth #286 (August 30, 2016) ["Alfred Hitchcock's Vertigo is a tale of obsession which has sparked an obsession in many of its viewers.Jimmy Stewart stars as John "Scottie" Ferguson, a disgraced detective who's hired by an old friend to follow his wife, Madeline (Kim Novak), who seems to have become possessed by a spirit from San Francisco's past. Professors Tania Modleski and Susan White (no relation) join Mike to discuss the film which was ranked as the best film in the world in a 2012 Sight & Sound poll. Authors Patrick McGilligan (Alfred Hitchcock: A Life in Darkness and Light) and Dan Auiler (Vertigo: The Making of a Hitchcock Classic)."]

Cassidy, Brendan, J.D. Duran and Brian Tallerico. "Hidden Figures, Top 3 Best Shot Films of 2016." InSession Film #202 (January 2016)

Chazelle, Damien and Ryan Gosling. "La La Land." The Treatment (January 18, 2017)

Gladstone, Brooke. "On the Media: Busted, America's Poverty Myths." Radiolab (January 18, 2017) ["On the Media’s Brooke Gladstone tells Jad and Robert about a mammoth project they launched to take a critical look at the tales we tell ourselves when we talk about poverty. In a 5-part series called "Busted: America’s Poverty Myths,” On the Media picked apart numerous oft-repeated narratives about what it's like to be poor in America. From Ben Franklin to a brutal eviction, Brooke gives us just a little taste of what she learned and shares a couple stories of the struggle to get ahead, or even just get by."]

Goodman, Daniel Ross. "The Greatest Beauty: The Imaginary Journey of Paolo Sorrentino’s The Great Beauty (La grande bellezza), 2013." Bright Lights Film Journal (April 24, 2014)

Goss, Brian Michael. "“Things Like This Don’t Just Happen”: Ideology and Paul Thomas Anderson’s Hard Eight, Boogie Nights, and Magnolia." Journal of Communication Inquiry 26:2 (April 2002): 171-192

Kleinhans, Chuck. "Ideology Exposed - An Introduction." Jump Cut #57 (Fall 2016)











Tuesday, January 17, 2017

Resources for January 17, 2017

Blakeslee, David, et al. "Ingmar Bergman's Smiles of a Summer Night." Criterion Cast #175 (August 29, 2016) ["After fifteen films that received mostly local acclaim, the 1955 comedy Smiles of a Summer Night (Sommarnattens leende) at last ushered in an international audience for Ingmar Bergman. In turn-of-the-century Sweden, four men and four women attempt to navigate the laws of attraction. During a weekend in the country, the women collude to force the men’s hands in matters of the heart, exposing their pretensions and insecurities along the way. Chock-full of flirtatious propositions and sharp witticisms delivered by such Swedish screen legends as Gunnar Björnstrand and Harriet Andersson, Smiles of a Summer Night is one of cinema’s great erotic comedies."]

Broeren, Joost and Sander Spies. "Cutting the Edge: Freedom in Framing." Filmkrant (Posted on Vimeo: 2016)

Camia, Giovanni Marchini. "How to Teach Cinema." Keyframe (January 14, 2017) ["Because our children are being stabbed through their souls by insipid tentpoles."]

Francis, Marc. "Splitting the difference: On the queer-feminist divide in Scarlett Johansson’s recent body politics." Jump Cut #57 (Fall 2016)

Gordon-Reed, Annette. "The Captive Aliens Who Remain Our Shame." The New York Review of Books (January 19, 2017)

Harper, Dan. "The Taste of Greasepaint: On Bergman’s Sawdust and Tinsel and Ozu’s Floating Weeds." Bright Lights Film Journal (April 24, 2014) ["The Bergman film is much darker, and examines – with sadistic, Strindbergian zeal – the cruelties that men and women inflict on one other when love is distorted by power. The Ozu film is deceptively comic, and looks at how utterly lost men and women become when their families disintegrate. But the odd resemblance between the films remains intriguing."]

Longworth, Karina. "Six Degrees of Joan Crawford: The Middle Years (Mildred Pierce to Johnny Guitar)." You Must Remember This (August 29, 2016) ["Joan Crawford struggled through what she called her “middle years,” the period during her 40s before she remade herself from aging, slumping MGM deadweight into a fleet, journeywoman powerhouse who starred in some of the most interesting films about adult womanhood of the 1940s and 1950s. That revival began with Mildred Pierce (for which Crawford won her only Oscar), and included a number of films, such as Daisy Kenyon and Johnny Guitar, directed by men who would later be upheld as auteurs, subversively making personal art within the commercial industry of Hollywood."]

McCrary, Micah. "“My Story Doesn’t Begin When I Was Born”: Micah McCrary Interviews José Orduña." Los Angeles Review of Books (January 14, 2017)

Young, Alexandra Leigh. "The Girl Who Didn't Exist." Radiolab (August 29, 2016) ["Alecia Faith Pennington was born at home, homeschooled, and never visited a dentist or a hospital. By both chance and design she is completely invisible in the eyes of the state. We follow Faith as she struggles to free herself from one restrictive world only to find that she is trapped in another. In her journey to prove her American citizenship she attempts to answer the age-old question: who am I?"]





ENG 282 Letterboxd Profiles: Spring 2017

------------------------------------------

Mandie Garcia (8) [Ex Machina; Hunger; A Separation; Embrace the Serpent; 20th Century Women; Shortbus; Trainspotting; The Neon Demon]

Hannah Bowman (9) [Ex Machina; The Forbidden Room; Embrace of the Serpent; Lourdes;  20th Century Women]  Extra Credit: Of Freaks and Men; Vampyr; 3 films; Get Out

David Abraham (7) [Ex Machina; Hunger; The Forbidden Room; A Separation; Embrace of the Serpent; Lourdes] Extra Credit: 3 films

Ryan Rivard (11) [Ex Machina; Hunger; The Forbidden Room; Embrace of the Serpent; Lourdes; 20th Century Women; Force Majeure; Shortbus; The Lobster; Trainspotting; The Neon Demon; Children of Men] Extra Credit: 3 films; Hedwig and the Angry Inch

Elizabeth Johnson (12) [Ex Machina; Hunger; A Separation; The Forbidden Room; Embrace of the Serpent; Lourdes; 20th Century Women; Force Majeure; Shortbus; Trainspotting; The Neon Demon] Extra Credit: Cosmos

Brittany Morton (8) [Ex Machina; Hunger; A Separation; Embrace the Serpent; Lourdes; 20th Century Women; Force Majeure] Extra Credit: I, Daniel Blake

Christopher Coleman (5) [Forbidden Room; A Separation; Shortbus] Extra credit I Am Not Your Negro; Elle

Jared Lee (5) [Ex Machina; Hunger; A Separation; Children of Men] Extra Credit: 3 films

Tybri Jackson (4) [Ex Machina; Hunger; The Forbidden Room; A Separation]

Hailey Townsend (2) [Ex Machina] Extra Credit: 3 films

Logan Ballard (0)

Joshua Clifton (9) [Ex Machina; Hunger; The Forbidden Room; The Separation; Embrace the Serpent; 20th Century Women; Lourdes; Force Majeure] Extra Credit: 3 films

Chloe Kokinda (1) [Ex Machina]







Recommended Responses:

Elizabeth Johnson - The Neon Demon: Beauty and the Beast

Mandie Garcia -- The Neon Demon: Beauty isn't Everything, it is the Only Thing"

Elizabeth Johnson - Shortbus: The Struggles and Glories of Sexuality

Ryan Rivard - Hedwig and the Angry Inch: A Gender Performance?

Mandia Garcia - Shortbus: Blinded by Stigma

Christopher Coleman - Shortbus: All Aboard

Ryan Rivard "Shortbus: I, Prisoner"

Ryan Rivard: Force Majeure

Mandie Garcia - 20th Century Women: "Can't things just be pretty?"

Chloe Kokinda: Ex Machina

Ryan Rivard - 20th Century Women: Melancholy Dreams

Ryan Rivard: Faith and Hope - Religious Commodities

Hannah Bowman - 20th Century Women: Flaunting Feminism

Joshua Clifton - "A Separation: The Human Condition"

Jared Lee - A Separation: Cultures Divide Us, Being Human Unites Us

Ryan Rivard - Dante's Imperialistic Journey: Embrace of the Serpent

Hannah Bowman - Divine Delusions: The Forbidden Room

Mandie Garcia - A Separation: Same Struggles, Different Countries

Joshua Clifton - The Forbidden Room: A Journey to Anywhere

Jared Lee - Ex Machina: The Rebellion of Consciousness

Elizabeth Johnson on Hunger

Ryan Rivard: The Forbidden Room - Waterfall

Reyan Rivard: Hunger - The Strategy of Punishment

Mandie Garcia on Hunger

Hannah Bowman: Ex Machina

David Abraham: Ex Machina












Saturday, January 14, 2017

ENG 282: Spring 2017 Resources

The 21st Century's Most Acclaimed Films They Shoot Pictures Don't They (Ongoing Archive)

Archives of Individual Films

BCTC LibGuides: Film Studies

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

Bluegrass Film Society (BFS screenings for extra credit and response opportunity)

Critics Round Up (Website)

Dirks, Tim. Film Genres: Origins and Types Film Site (Collection of Archives/Posts)
Lenos, Melissa and Michael Ryan.  An Introduction to Film Analysis: Technique and Meaning in Narrative Film. Bloomsbury Academic, 2015. [Course book]

Letterboxd [If you choose to write response to a film we have screened in class, you have until the end of the following Tuesday (midnight) to write and post it.  This is to keep you from trying to write all your posts at the end-of-the-semester.  You, of course, can write responses on the films that are a part of the BFS film series and I will provide an ongoing list of films in local theaters that are available for responses.  You are limited to no more than two responses a week (once again I do not want you trying to cram a whole bunch of rushed responses at the end-of-the-semester).]

Rotten Tomatoes (Website)

The Stories We Tell: Quote File Dialogic Cinephilia (Ongoing Archive)

Video Essays Dialogic Cinephilia (Ongoing Archive)


------------------------------------------------------------------------------------

Course films:

Ex Machina (UK: Alex Garland, 2015: 108 mins)

Hunger (UK/Ireland: Steve McQueen, 2008: 96 mins)

The Forbidden Room (Canada: Evan Johnson and Guy Maddin, 2015: 130 mins)

A Separation (Iran: Asghar Farhadi, 2011)

Embrace of the Serpent (Colombia/Venezuela/Argentina: Ciro Guerra, 2015: 125 mins)

Lourdes  (Austria/France/Germany: Jessica Hausner, 2009)

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

Force Majeure  (Sweden/France/Denmark/Norway: Ruben Östlund, 2014: 118 mins)





Optional films in local theaters and the Bluegrass Film Society (response opportunities):


Bluegrass Film Society: Spring 2017 Schedule (click on links for location/date/time)


Fandango (Put your zip in the search engine and it will show you what is playing in theaters near you)


Arrival (USA: Denis Villeneuve, 2016)

Doctor Strange (USA: Scott Derrickson, 2016)

The Edge of Seventeen (USA: Kelly Fremon Craig, 2016)

Elle (France/Germany/Belgium: Paul Verhoeven, 2016) - opens 2/24 at the Kentucky Theater

Fences (USA: Denzel Washington, 2016)

Get Out (USA: Jordan Peele, 2017)

Hidden Figures (USA: Theodore Melfi, 2016)

I Am Not Your Negro (France/USA: Raoul Peck, 2016) - opens 2/24 at the KY Theater

Khaidi No. 150 (India: Vinayak V.V., 2017)

La La Land (USA: Damien Chazelle, 2016)

The Lego Batman Movie (Denmark/USA: Chris McKay, 2017)

Lion (Australia/USA/UK: Garth Davis, 2016)

Loving (UK/USA: Jeff Nichols, 2016)

Manchester by the Sea (USA: Kenneth Lonergan, 2016)

Moonlight (USA: Barry Jenkins, 2016)

Nocturnal Animals (USA: Tom Ford, 2016)

Raees (India: Rahul Dholakia, 2016)

Silence (Mexico/Taiwan/USA: Martin Scorsese, 2016)

Split (USA: M. Night Shymalan, 2016)


Films you can respond to that are on DVD/streaming and that relate to our course films (I will put related subject/film at the end of the film):

The Gospel of St. Matthew (Italy/France: Pier Paolo Pasolini, 1964) - Religion

The Last Temptation of Christ (USA/Canada: Martin Scorsese, 1988) - Religion

Moolaade (Senegal/Burkina Faso/Morocco/Tunisia/Cameroon/France: Ousmane Sembene, 2004) - Religion

Vision (Germany/France: Margarethe von Trotta, 2009) - Religion








Friday, January 13, 2017

Mommy (Canada: Xavier Dolan, 2014)




Mommy (Canada: Xavier Dolan, 2014: 139 mins)

Bradshaw, Peter. "Mommy - Outrageous and Brilliant, a Daytime Soap from Hell." The Guardian (March 19, 2015)

Broeren, Joost and Sander Spies. "Cutting the Edge: Freedom in Framing." Filmkrant (Posted on Vimeo: 2016)

Dolan, Xavier. "Mommy." The Close-Up (2015)

Film Master Jack. "Mommy (2014)." Letterboxd (January 1, 2018)

Galibert-Laîné, Chloé. "Why Framing Matters in Movies." Fandor (Posted on Youtube: December 30, 2015)

Heron, Christopher. "Xavier Dolan: Exercices de style." The Seventh Art (ND)

Kenny, Glen. "Mommy." Roger Ebert (January 23, 2015)

Kiang, Jessica. "Xavier Dolan’s F’d-Up, Profane And Amazingly Alive Mommy." IndieWire (March 21, 2014)

Kohn, Eric. "Cannes Review: Is Xavier Dolan's Mommy His Best Film." IndieWire (May 21, 2014)

Mommy Critics Round Up (Ongoing Archive)

Nayman, Adam. "Imaginary Love: Xavier Dolan's Mommy." Cinema Scope #60 (2014)

Rosso, Jason Di. "Mommy." Final Cut (April 10, 2015)

Salah, Jaylan. "Xavier Dolan and Revolutionizing Sexuality on the Big Screen: A Feminist Critical Analysis of Xavier Dolan’s Cinema." Synchronized Chaos (February 1, 2016) 

The Seventh Art. "Xavier Dolan." (Posted on Youtube: January 5, 2015)




















Resources for January 13, 2017

Bukatman, Scott. "Some Came Running." The Cinephiliacs #84 (August 28, 2016) ["Criticism is often described as an act of interpretation—explaining how or why a film works. But the act of cinema at its most basic level is an experience of image, sound, bodies, gestures, materiality, and everything in between. Stanford Professor Scott Bukatman has explored that experiential level of art in all of its forms from high to low. Scott and Peter cross boundaries of genre and time to discuss post-modern science fiction and its most abstract moments, performative bodies that explained our new technological moment, and even gravitational expectations in the new digital landscape. They also discuss cinema's closest (and often problematic) cousin, the comic book, alongside Scott's new exploration of Hellboy and how the act of reading itself can (and should) be reconsidered in the act of discussing a text. Finally, the two dive deep on Vincent Minnelli's Some Came Running, and truly ask what is it that makes a performance, especially in a melodrama in which the art of acting is key to everything."]

Douglas, Timothy and Sandra Shannon. "August Wilson and Fences." Radio West (January 11, 2017) ["August Wilson, one of the great American playwrights … period. That doesn’t need the qualifier that he was a black playwright. But his plays were about the black experience in this country, and one of his masterpieces was Fences. Denzel Washington’s film version is now in theaters, and the stage version has just opened at Pioneer Theatre Company. We’re taking the opportunity to talk about the heart breaking beauty of August Wilson’s work."]

Gorman, Steve. "U.S. Lists a Bumble Bee Species as Endangered for First Time." Scientific American (January 11, 2017)

Johnson, Steve. "Hollywood Daedalus: The Robert Wise of Audrey Rose." Bright Lights Film Journal (April 25, 2014)

Messina, Chris. "Live By Night." The Treatment (January 11, 2017) ["As an acting fan, Chris Messina is especially fond of actor/directors. He reunites with director Ben Affleck in Live by Night, channeling Goodfellas while playing prohibition era gangster Dion Bartolo. Messina reflects on Ben Affleck's ability to quickly transition from actor to director when filming a scene and the way casting sets the foundation of acting quality within a film."]

Nimoy, Adam. "For the Love of Spock." The Geek's Guide to the Galaxy (August 16, 2016)

Raboteau, Albert. "Fannie Lou Hamer and Thomas Merton." Against the Grain (January 11, 2017)
["Fannie Lou Hamer and Thomas Merton were both, as Albert Raboteau puts it, religious radicals. Hamer became an outspoken advocate for racial and social justice; she risked her life to secure voting rights and political equality for African Americans. Thomas Merton was a Catholic contemplative who spoke out forcefully against racism, militarism, and rampant consumerism. Albert Raboteau, American Prophets: Seven Religious Radicals and Their Struggle for Social and Political Justice Princeton University Press, 2016."]

Riesman, Abraham. "The Vulture Transcript: Alfonso Cuarón on Children of Men." Vulture (January 6, 2017)

Rosen, Jay. "Plagiarism charges against Monica Crowley put her publishing house on stage." Press Think (January 7, 2017)

Stevens, Brad. "Emotion Pictures; Story may be the least important thing in Hou Hsiao-hsien's Millennium Mambo." Keyframe (January 11, 2017)