Thursday, November 10, 2016

Performance (UK: Donald Cammell and Nicholas Roeg, 1970)




Performance (UK: Donald Cammell and Nicholas Roeg, 1970: 105 mins)

Adlerberg, Scott. "Gangster Cinema, British Style: Performance (1970) with Mick Jagger and James Fox." Criminal Element (July 26, 2013)

Bailey, Jason. "The Trippiest Movies Ever Made." (Posted on Vimeo: 2012)

Chang, Chris. "Cinema Sex Magick: The Films of Donald Cammell." Film Comment (July/August 1996)

Hill, Lee. "Great Directors: Nicolas Roeg." Senses of Cinema #20 (May 2002)

Holden, Michael. "Cast Into Darkness." The Guardian (May 1, 2004)

The Influence and Controversy of Performance (DVD documentary on the 2007 Warner Brothers edition)

Kuersten, Erich. "CinemArchetype #4: The Hanged Man." Acidemic  (February 12, 2012)

Lorefice, Mike. Performance Raging Bull Movies (February 22, 2002)

McDonagh, Martin, et al. "Performance (1970)." The Projection Booth 603 (December 21, 2022) ["We’re looking at Nic Roeg and Donald Cammell's Performance (1970), the story of a gangster (James Fox) who kills an old friend and goes into hiding at the chateau of a rock star (Mick Jagger). Ben Slater and Maitland McDonagh join Mike to discuss the film and its themes of duality while Professor Sam Umland talks about Donald Cammell and Keiron Pim shines a light on the film's consultant, David Litvinoff."]

Perez, Rodrigo. "Don't Look Back: Jagger and Nitzche's Performance." Playlist (May 4, 2007)

Smalley, G. "Performance (1970)." 366 Weird Movies (November 10, 2010)

Whitelaw, Joshua. "Everything is Permitted: A Study of Nicolas Roeg." (Posted on Vimeo: 2013)
















Monday, November 7, 2016

Chevalier (Greece: Athina Rachel Tsangari, 2015)




Chevalier (Greece: Athina Rachel Tsangari, 2015: 99 mins)

Chevalier Critics Round Up (Ongoing Archive)

Elphick, Jeremy. "Chevalier." 4:3 (June 28, 2016)

Hudson, David. "Locarno 2015 | Athina Rachel Tsangari’s CHEVALIER." Keyframe (August 13, 2015)

Knight, Dana. "NYFF 2015: Filmmaker in Residence Athina Rachel Tsangari." The Independent (October 2, 2015)

La France, Samuel. "Chevalier (Athina Rachel Tsangari, Greece)." CinemaScope #65 (Winter 2015)

Reardon, Kiva. "Housekeeping and Other Feudalisms: An Interview with Athina Rachel Tsangari."  cléo 1.2 (July 25, 2013)

Tsangari, Athina Rachel. "Chevalier." The Close-Up (May 25, 2016)














Resources for November 7, 2016

Blakeslee, David, et al. "Ingmar Bergman's Summer with Monica." CriterionCast #174 (July 25, 2016) ["Inspired by the earthy eroticism of Harriet Andersson, in the first of her many roles for him, Ingmar Bergman had a major international breakthrough with this sensual and ultimately ravaging tale of young love. A girl (Andersson) and boy (Lars Ekborg) from working-class families in Stockholm run away from home to spend a secluded, romantic summer at the beach, far from parents and responsibilities. Inevitably, it is not long before the pair are forced to return to reality. The version initially released in the U.S. was reedited by its distributor into something more salacious, but the originalSummer with Monika (Sommaren med Monika), presented here, is a work of stunning maturity and one of Bergman’s most important films."]

Costa, Cassie Da, et al. "Mondo, Mondo." Film Comment (July 26, 2016) ["This month, at Anthology Film Archives, FILM COMMENT contributor Nick Pinkerton has programmed a variety of shockumentary-style works ranging from the notorious Mondo Cane(an Academy Award nominee, for Original Song) to Thierry Zéno’s Des Morts. Many of these films aim to shock and titillate, sometimes purporting to document actual deaths, but they become politically and culturally revealing texts. None of this problematic entertainment holds a candle, however, to the real-life horror that has become a fixture of 21st-century visual culture: recordings showing police brutality—grim evidence of actual violence that is used in calls for justice. In a wide-ranging discussion that moves from the cinema of taboo to the complexities of recordings of police violence, FC Digital Editor Violet Lucca spoke with Pinkerton, critic and programmer Ashley Clark, and New Yorker video producer (and former FC intern) Cassie da Costa."]

Gores, Jared, Michael Neelsen and Joe Pudas. "Favorite Political Films." Reel Fanatics #439 (November 6, 2016)

Koski, Genevieve, et al. "Ghostbusters (2016) / Ghostbusters (1984), Pt. 1" The Next Picture Show #37 (July 26, 2016) ["The strange controversy over Paul Feig's gender-reversed GHOSTBUSTERS has us looking back at the original 1984 GHOSTBUSTERS to see what about it has inspired such strong feeling. In this half of the conversation, we focus on the then-and-now of Ivan Reitman's original, while trying (unsuccessfully) to dodge the dreaded "N" word: "nostalgia.""]

---. "Ghostbusters (2016) / Ghostbusters (1984), Part 2." The Next Picture Show #38 (July 28, 2016) ["Our GHOSTBUSTERS discussion turns its attention to Paul Feig's new remake, which was made with obvious affection for (and cameos from) the 1984 version, and replicates certain character types and plot points. But it also breaks from it in significant ways we'll discuss, as well as thoughts on the effects, the villains, New York City, blockbuster culture, and more."]

Maclay, Willow. "Don't Go Breaking My Heart (Johnnie To, 2011)." The Vulgar Cinema (April 9, 2014)

McCalmont, Jonathan. "Nothing Beside Remains: A History of the New Weird."  The Big Echo #2 (Autumn 2016)

Palmer, Landon. "Ida: Almost Too Stunning For Its Own Good." Film School Rejects (May 2, 2014)

Riccobono, Jack Pettibone. "The Seventh Fire." Film School (July 23, 2016) ["From executive producers Terrence Malick, Natalie Portman, and Chris Eyre comes this haunting and unflinching debut feature, THE SEVENTH FIRE, directed by Jack Pettibone Riccobono. When gang leader Rob Brown is sentenced to prison for a fifth time, he must confront his role in bringing violent drug culture into his beloved American Indian community in northern Minnesota. As Rob reckons with his past, his seventeen-year-old protégé, Kevin,dreams of the future: becoming the most powerful and feared Native gangster on the reservation."]

Schamus, James. "The Tall T." The Cinephiliacs #82 (July 25, 2016) ["How does one reconcile the ideas of artistry in cinema, the kind of magic of cinephilia that we see each time we look up at the screen, with the business practices that often painted as limiting it? James Schamus has somehow made a career of toeing this (likely constructed) dichotomy, helping produce some of the early independent films of the 1990s before becoming the co-founder of Focus Features, which made films like The Pianist,Atonement, Brokeback Mountain, and Moonrise Kingdom, as well as a collaborator of Ang Lee, writing the screenplays for The Ice Storm, Ride With The Devil, and Crouching Tiger, Hidden Dragon. James discusses this work between the politics of making art for specialty audiences, as well as his interest in the very nature of art through his work as a theorist and professor at Columbia University. They then turn to his directorial debut, an adaptation of Philip Roth's Indignation, and what it means to modulate performance.Finally, the two discuss Budd Boetticher's 1957 hostage western The Tall T, and what a specialty art house producer can learn from watching Randolph Scott contemplate existence in this low budget western."]

Talbird, John Duncan. "The Sound of Cool: Jim Jarmusch's Gimme Danger."  Film International (November 3, 2016)




Sunday, November 6, 2016

Moonshine Clans of the Alphane Mountains by Michael Dean Benton

I've been searching for rare insights that circulate amongst a chosen few. Good news though, I'm using my time wisely here in Lexington, KY searching among the Moonshine Clans of the Alphane Mountains for the secret recipe that will allow me to unlock the paradox of a program centered around the mythical belief that one can know their individual selves. So far only manic giggling whenever I mention my desire for answers ... the whispering behind my back almost broke my determination but I hung in there until an elder Magi of the Clans began to take pity on this Lost Boy from the Western Lands. She claimed to have originally come from the City of the Red Night where they teach their young that one cannot seek "the" answer, instead they must explore the "multiplicity" of questions, for it is in the masking of "possible" questions that power rests upon and the prying free of these nuggets from the earth's moist grasp is the quest of the Moonshine Clans of the Alphane Mountains.
The ancient Moonshine Magi cackled, swigged from her jug, and said "this is where the neophytes can get in trouble." In the act of chasing these shy questions the hunter notices that the landscape often shifts and reshapes each time a question is revealed. It seems that the Clans learned long ago that when one unearths a question revealing its essence the disturbance of the surrounding landscape generally causes an accompanying reveiling of surrounding questions. In fact, she warned that often eager groups of diggers, banded together for strength and safety, often bury smaller groups/individuals digging nearby. This is why a true Digger of the Clans of the Alphane Mountains always stops and retraces their steps reflecting on the pathway they are traveling and seeking to understand what disturbances their digging causes. The Magi seemed to derive much amusement from my comment that the illusions that cover the Western Lands have long forbidden self-reflective contemplation in order to freeze traditional concepts and to fuel the travel back to the future-past.
I asked the Magi how do the Diggers of the Clan of the Alphane Mountains retain their reflective ability while eagerly unearthing large concepts and revealing troublesome questions. "How do they dream the impossible and imagine the unaskable?" The Magi leaned back and swigged from her jug and chuckled at my Western ignorance. She stared at me like an adder stares down a mouse and dared me to think upon it.
After a long uncomfortable two days I unkinked my frozen limbs. The emptying of my mind allowed me to recognize that the best way to build a hearty, enrichening intellectual-spiritual bouillabaise, is to blend it with (an)other body(ies) of knowledge. The clans, following the wisdom of the Dispossessed, require all learners to travel to other realms (physical, spiritual, and mental) in order to experience different realities and to act as multi-conduit translators (within and without their clan)
Its obvious that the Magi is still toying with me. Perhaps I still must quest for these answers on my own, perhaps I still must travel, perhaps I should look into the interstices of our collective understanding for missing clues?
I screamed, "Please help me! What is a traveler to do when there is no map to guide me" ... the Magi just cackles!!! "Foolish Lost Boy of the Western Lands, when will you learn that the quest is the journey and that as soon as you pin down an answer, it only means that you have reveiled other healthy questions--questions that must then be once again revealed."
Shaking and confused, I picked up a large jug of Alphane moonshine and stumbled into the forest to look for questions.........

Resources for November 6, 2016

Cassidy, Brendan and J.D. Duran. "Born to Be Blue, Infiltrator." InSession Film (July 22, 2016) ["Ethan Hawke’s latest indie film and the second great jazz movie to come out in 2016, Born to Be Blue. We also review The Infiltrator, starring the great Bryan Cranston."]

Cheney, Matthew. "Dead Men and Ghosts, Limited." (Posted on Vimeo: 2014)

Ferrara, Greg. "Scanners: Cronenberg, Existence, and Body Horror." Streamline (November 6, 2016)

Heath, Roderick. "The Thing (1982)." Ferdy on Films (May 2014)

Howard, Kate. "Kentucky 3rd In Nation In Barring Felons From The Voting Booth." Kentucky Center for Investigative Reporting (November 4, 2016)

Hughes, William. "CMAs erase Beyoncé and Dixie Chicks from its social media accounts." A.V. Club (November 4, 2016)

Johnson, Grace Sanders. "Why Haiti Needs New Narratives: An Interview With Gina Athena Ulysse." AAIHS (November 6, 2016) ["On October 4, 2016, Hurricane Matthew roared through Haiti’s southwest peninsula taking with it homes, centuries-old structures, and over 800 lives. In the storm’s wake, media outlets observed the undeniable damage of this specific natural event by projecting recycled, dehumanizing, and ahistorical narratives of Haiti to the world. InWhy Haiti Needs New Narratives: A Post-Quake Chronicle, Haitian-born feminist anthropologist Gina Athena Ulysse writes: “if there is one thing we know for certain, it is that without destruction, sensationalism, and violence, there is no Haiti story.” Ulysse’s trilingual collection of essays is a balm to wounds that are reopened each time the black republic is (mis)represented. The book is a timely reminder of the need to critically interrogate the historical implications of this current moment."]

McDonald, Kevin P. "The Netflix Effect, Technology and Entertainment in the 21st Century." Film School (July 22, 2016) ["Netflix is the definitive media company of the 21st century. It was among the first to parlay new Internet technologies into a successful business model, and in the process it changed how consumers access film and television. It is now one of the leading providers of digitally delivered media content and is continually expanding access across a host of platforms and mobile devices. Despite its transformative role, however, Netflix has drawn very little critical attention-far less than competitors such as YouTube, Apple, Amazon, Comcast, and HBO. The Netflix Effect, Technology and Entertainment in the 21st Century addresses this gap, as the essays are designed to critically explore the breadth and diversity of Netflix’s effect from a variety of different scholarly perspectives, a necessary approach considering the hybrid nature of Netflix; its inextricable links to new models of media production and distribution, to new modes of viewer engagement and consumer behavior, its relationship to existing media conglomerates and consumer electronics, to its capabilities as a web-based service provider and data network, and to its reliance on a broader technological infrastructure. Marking the first scholarly work to address its significance. Co-author and editor Kevin P. McDonald talks about how The Netflix Effect provides a critical framework for understanding the company’s specific strategies as well as its broader social, economic, and cultural impact."]

"The fundamental problem of human existence is rooted in an inherent inability to communicate.  That's not to say that people are unable to talk to one another. In fact, people say a great deal to one another throughout any given day, much of it meaningless and instantly forgotten. It's only when the meaning of our words - the desperation of being understood by another - is made the locus of our communication, that the problems inherent to communication become impossible to ignore: wars are waged between governing bodies over conflicting intentions (we know what's best for everyone, trust us); murders occur over simple misunderstandings, wounded pride, and bruised egos (you don't know me, how dare you); a once safe, nurturing relationship is torn apart by the need of lovers to be both heard and understood (this is who I am, this is how I feel). This is the dilemma of being human: believing that something needs to be communicated - a feeling, a thought, an urgent message - not being able to communicate it; or, having made an attempt at communication and ultimately failing, causing irreparable harm (11)." -- Peak, David. The Spectacle of the Void. Schism, 2014.

Steward, Tom. "The Grand Budapest Hotel." Alternate Takes (April 30, 2014)

Saturday, November 5, 2016

Dead Man (USA/Germany/Japan: Jim Jarmusch, 1995)




Dead Man (USA/Germany/Japan: Jim Jarmusch, 1995: 121 mins)

Berg, Briana. "Unveiling the Spiritual Nature of Dead Man." Cinescapade (2001)

Braga, Guillermo. "Strangers of Jim Jarmusch." (Posted on Vimeo: March 2016)

Campbell, Zach. "Dead Man." Slant (May 25, 2004)

Cheney, Matthew. "Dead Men and Ghosts, Limited." (Posted on Vimeo: 2014)

Clark, James. "Jim Jarmusch's Dead Man: "I don't know anything about poetry." Wonders in the Dark (October 5, 2016)

Curley, Melissa Anne-Marie. "Dead Men Don’t Lie: Sacred Texts in Jim Jarmusch’s Dead Man and Ghost Dog: Way of the Samurai." Journal Of Religion & Film 12.2 (October 2008)

Dead Man Critics Round Up (Ongoing Archive)

Ebert, Roger. "Dead Man." Chicago Sun-Times (June 28, 1996)

Jarmusch, Jim, Ariane Labed and Yorgos Lanthimos. "The Lobster; Dead Man." The Close-Up (May 11, 2016)

LaFrance, J.D. "Great Directors: Jim Jarmusch." Senses of Cinema #28 (October 2003)

McMahon, Jennifer L. "I’m Not Nobody: Dead Man, Double Negatives, and Transcending Stereotypes of Native Americans." Southeastern Oklahoma State University Native American Symposium (March 2013)

O'Connell, Max. "Criticwire Classic of the Week: Jim Jarmusch's Dead Man." IndieWire (January 21, 2015)

Palmer, Landon. "Movies We Love: Dead Man." Film School Rejects (June 16, 2010)

Rosenbaum, Jonathan. "Acid Western." Chicago Reader (June 27, 1996)

---. "Dead Man in 2010: A Czech Preface." (February 5, 2011)

Smith, Terri C. "Dead Man: The Ultimate Viewing of William Blake." (December 20, 2007)

















Friday, November 4, 2016

Resources for November 4, 2016

Collier, Stuart, et al. "The First Pasolini Episode (1961 - 1966)." Illusion Travels by Streetcar #126 (October 26, 2016)

Freeman, Sara. "The Creatures: Lynchian Women and Mulholland Drive." Keyframe (October 30, 2016)

Harris, Brandon. "Adam Curtis' Essential Counterhistories." The New Yorker (November 3, 2016)

Ingraham, Christopher. "#StopThePot: Trump trolls launch a new misinformation campaign targeting marijuana supporters." Washington Post (November 4, 2016)

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

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

Oleson, J.C. "Is Tyler Durden Insane?" North Dakota Law Review 83.2 (2007): 579-650.

"One Junky Summer: Band of the Hand." Junk Food Cinema (July 21, 2016)

Romney, Jonathan. "Film of the Week: Doctor Strange."  Film Comment (November 3, 2016)

Swinney, Jacob T. "Six Uses of the Bird’s-eye Shot: What do we see differently when watching from above?" Keyframe (November 2, 2016)

Thursday, November 3, 2016

Straw Poll of ENG 102 Students

(Lexington, Kentucky)

Trump 29
Clinton 12
Johnson 3
Stein 3
Sanders (Write in 2)
Not Voting 10

Wednesday, November 2, 2016

Resources for November 2, 2016

Assayas, Olivier, Alison Maclean and Kleber Medoncha Filho. "NYFF Live Filmmaker Chat." Film Comment (November 1, 2016) ["This Film Comment panel brought together three NYFF filmmakers—Olivier Assayas (Personal Shopper), Alison Maclean (The Rehearsal), and Kleber Mendonça Filho (Aquarius)—to discuss their practical approaches to the craft of filmmaking, as well as their grander philosophies about the art form. The conversation, moderated by Film Comment Editor Nicolas Rapold, covers a swath of topics, from on-set collaboration to transnational cinema."]

Canning, Charlotte, et al. "American Fascism: It Can't Happen Here?" Ideas (October 28, 2016)

Davis, Erik, et al. "H.P. Lovecraft." To The Best of Our Knowledge (October 27, 2016) ["H.P. Lovecraft's weird tales of cosmic horror loom large 125 years after his birth. His literary tentatcles have oozed their way into movies, books, games and graphic novels. We explore Lovecraft's life, work and legacy. Was he a literary master or a monster?"]

Ha, Anthony, et al. "Black Mirror’s Biggest Twist? An Actual Happy Ending." Geek's Guide to the Galaxy (October 29, 2016)

Jónsdóttir, Birgitta. "Meet Birgitta Jónsdóttir: The Ex-WikiLeaks Volunteer Who Has Helped the Pirate Party Reshape Iceland." Democracy Now (November 1, 2016) ["In Iceland, the anarchist Pirate Party made big gains in Sunday’s national elections, raising the prospect it will form a coalition government with other left-wing parties. The Pirates won 10 seats in Iceland’s 63-member Parliament, up from three in the last election. The Pirate Party hopes to pass the world’s first crowdsourced constitution. Its core platform calls for direct democracy, freedom of expression, civil rights, net neutrality and transparency. The Pirates saw their popularity surge in April, after Iceland’s prime minister resigned following revelations he and his wife used an offshore company to conceal millions of dollars’ worth of investments. Women also won big in this weekend’s elections, taking 30 seats in Iceland’s Parliament—more than any single party. With female candidates winning nearly half of the seats, Iceland now reportedly has the "most equal Parliament in the world." For more, we speak with Birgitta Jónsdóttir, member of the Icelandic Parliament and co-founder of the country’s Pirate Party. She is also a poet, activist, web developer and a former WikiLeaks activist. And she is the chairperson of the International Modern Media Institution."]

Kempenaar, Adam and Josh Larsen. "Top 5 Childhood Movie Scares with Ti West / A Nightmare on Elm Street (1984)." Filmspotting #609 (October 27, 2016)

Levin, Marc. "Voices from NYC's Most Notorious Jail: Former Prisoners Speak Out About Abuse at Rikers Island." Democracy Now (November 2, 2016) ["A new PBS documentary, "Rikers," brings you face to face with men and women who have survived incarceration at New York City’s largest and most notorious jail. Their stories are told directly to the camera without any additional narration. A dozen former inmates vividly describe the cruel arc of the Rikers experience—from the trauma of entering the island to the extortion and control exercised by other inmates, to the harrowing interactions with corrections officers. They also detail the beatings and stabbings, the torture of solitary confinement and the psychological difficulties of re-entering the outside world. For more, we’re joined by award-winning independent filmmaker Marc Levin, director of the new documentary, "Rikers."]

Prose, Francine. "When Librarians are Silenced." The New York Review of Books (October 14, 2016)

Reilly, Phoebe. "From Babadook to Raw: The Rise of the Modern Female Horror Filmmaker." Rolling Stone (October 27, 2016)

Small, Deborah. "9 States to Vote on Marijuana Initiatives: Will They Stop Jailing Young People of Color over Weed?" Democracy Now (November 2, 2016) ["On November 8, 35 states and the District of Columbia will confront 156 ballot initiatives on issues ranging from universal healthcare to gun sale restrictions and death penalty reforms. One of the most contentious ballot initiatives concerns marijuana legalization. After next week’s election, marijuana could be legal for medical or recreational use in 29 states. Currently about 5 percent of Americans live in states where they can legally smoke cannabis, but after November that figure could rise to 25 percent. California is the biggest of the nine states casting a ballot on the measure. While other states are voting on medicinal use, Arizona, Maine, Massachusetts and Nevada are with California in voting on legalizing the recreational use of marijuana. The "yes" vote is currently leading in all five states and is widely supported by young voters from both major parties. California legalized the medical use of marijuana 20 years ago. Polls in California show strong support for Proposition 64, the Adult Use of Marijuana Act. We speak with Deborah Small, founder of Break the Chains: Communities of Color and the War on Drugs. Her recent piece for The Root is headlined "How We Can Reap Reparations from Marijuana Reform." She’s a longtime advocate for drug decriminalization."]


Friday, October 28, 2016

Resources for October 28, 2016

Aaron, Craig and Adam Schwartz. "Electronic Frontier Foundation: Police Depts. Paid AT&T Millions to Scrutinize Our Texts & Chats." Democracy Now (October 28, 2016) ["New details are emerging about how AT&T has been spying on Americans for profit with a secret plan called Project Hemisphere. The Daily Beast reports AT&T is keeping private call records and selling the information to authorities investigating everything from the war on drugs to Medicaid fraud. AT&T reportedly has been retaining every call, text message, Skype chat or other communication that has passed through its infrastructure. Some of the records date back to 1987. Sheriff’s and police departments each pay upward of $1 million a year for access to the call records. No warrants are needed, and AT&T requires governmental agencies to keep secret the source of the information. We speak with Adam Schwartz, a senior lawyer at the Electronic Frontier Foundation. His latest article is "AT&T requires police to hide Hemisphere phone "]

"Aliens and Commercialism." Pop Culture Case Study #157 (July 21, 2016)

Balot, Ryan. "Tocqueville's America Revisited, Part 1." Ideas (October 14, 2016) ["Nearly 200 years ago, a young French aristocrat traveled across the Atlantic to get a first-hand immersion in American democracy. Alexis de Tocqueville spent nine months touring the United States, talking to hundreds of people, trying to understand the country's strengths and weaknesses. Some have called his writing prophetic, capturing the essence of the American experiment with democracy -- both back when he was visiting the U.S. in the 1830s and today."]

Bauer, Shane. "Shane Bauer Infiltrates Armed Militia "Hunting Mexicans" & Collaborating with U.S. Border Patrol." Democracy Now (October 27, 2016)

Carlin, Dan. "Or Else." Common Sense #310 (October 13, 2016)

DuVernay, Ava, et al. "Ava DuVernay / Jamal Joseph." The Close-Up #93 (July 20, 2016)  ["The Opening Night selection will be the new film from SELMA director Ava DuVernay, THE 13TH, which explores the American prison industry and the horrors of mass criminalization. Eugene Hernandez caught up with DuVernay in Los Angeles over the weekend to discuss the project. In part two of this week's episode, we're sharing an inspirational panel from last month's Human Rights Watch Film Festival. Following a screening of CHAPTER & VERSE, a film about a reformed gang leader who struggles to re-enter society after eight years in prison, director Jamal Joseph joined lead actor Daniel Beatty and producers Cheryl Hill and Jonathan Singer to talk about racism, gang violence, gentrification, and what it means to forge your own destiny in an outwardly harsh society."]

Houska, Tara. "'A Shameful Moment for This Country': Report Back on Militarized Police Raid of DAPL Resistance Camp." Democracy Now (October 28, 2016) ["We go to Standing Rock, North Dakota, for an update on how hundreds of police with military equipment raided a resistance camp Thursday that was established by Native American water protectors in the path of the proposed $3.8 billion Dakota Access pipeline. More than 100 officers in riot gear with automatic rifles lined up across a highway, flanked by multiple MRAPs, anLRAD sound cannon, Humvees driven by National Guardsmen, an armored police truck and a bulldozer. Water protectors say police deployed tear gas, mace, pepper spray and flash-bang grenades and bean bag rounds against the Native Americans and shot rubber bullets at their horses. "We learned a lot about the relationship of North Dakota to Native people," says Tara Houska, national campaigns director for Honor the Earth. "I was standing next to a group of teenagers that were maced in the face. … I was shot in the face by a bean bag round.""]

Kozak, Oktay Ege, Erik McClanahan and Ryan Oliver. "Lost in Charlie Kaufman’s Eternal Sunshine Of The Spotless Mind & Adaptation." Over/Under Movies (June 20, 2016)

Prewitt, Zach. "The Best Horror Cinema of the 21st Cinema." (Posted on Vimeo: October 2016)

Robinson, Matty, et al. "Abbas Kiarostami: The Filmspotting Reviews." Filmspotting (July 20, 2016)

Taibbi, Matt. "The Divide: American Injustice in the Age of the Wealth Gap." Truthout (May 4, 2014)


Thursday, October 27, 2016

The Life and Death of Colonel Blimp (UK: Michael Powell and Emeric Pressburger, 1943)




The Life and Death of Colonel Blimp (UK: Michael Powell and Emeric Pressburger, 1943: 163 mins)

Chapman, James. "The Life and Death of Colonel Blimp Reconsidered." The Powell & Pressburger Pages (Originally published in The Historical Journal of Film, Radio and Television 15.1 March 1995: 19-55)

Christie, Ian. "Seventy Years Ago... The Return of The Life and Death of Colonel Blimp." Senses of Cinema #68 (September 2013)

Danks, Adrian. "Great Directors: Michael Powell & Emeric Pressburger." Senses of Cinema (May 2002)

Ebert, Roger. "Great Movie: The Life and Death of Colonel Blimp." Chicago Sun-Times (October 27, 2002)

Haskell, Molly. "The Life and Death of Colonel Blimp." Current (March 20, 2013)

Haver, Ronald. "The Life and Death of Colonel Blimp." Current (October 21, 2002)

The Life and Death of Colonel Blimp Critics Round Up (Ongoing Archive)

Marsh, Calum. "Can Humor Be Weaponized? We speak of satire as ‘venomous’ and ‘acerbic,’ but it isn’t the damage it deals that makes it significant." Keyframe (April 10, 2016)

"On the Set of The Life and Death of Colonel Blimp." Current (March 20, 2013)

Scorsese, Martin. "On Restoring The Life and Death of Colonel Blimp." Current (March 18, 2013)

Smith, Imogen Sara. "The Music of Words: Storytelling in Two Powell & Pressburger Films." Bright Lights Film Journal #79 (February 2013)

Tracy, Andrew. "Up and Away: On The Life and Death of Colonel Blimp." Reverse Shot (July 15, 2006)


The Life and Death of Colonel Blimp (trailer) from Cinefamily on Vimeo.











Wednesday, October 26, 2016

Pirates of the Caribbean: The Curse of the Black Pearl (USA: Gore Verbinski, 2003)




Pirates of the Caribbean: The Curse of the Black Pearl (USA: Gore Verbinski, 2003: 143 mins)

High, Michael D. 
"Pirates without Piracy: Criminality, Rebellion, and Anarcho-Libertarianism in the Pirate Film." Jump Cut #56 (Winter 2014/2015)

Kuersten, Erich. "Quilty Makes This World: 12 Tricksters (CinemArchetype #1)." Acidemic (January 23, 2012)

Rabin, Nathan. "Nathan Rabin vs. The IMDb Top 250: Pirates Of The Caribbean: The Curse Of The Black Pearl." The Dissolve (September 17, 2014)



Resources for October 26, 2016

Bailey, Thomas William Bey. "Foundations for a High-Rise: Or, cinematic on-ramps to the mind of J.G. Ballard." Keyframe (April 18, 2016)

Calautti, Katie. "Why Is the True Story of David O. Russell’s Joy Such a Mystery?" Vanity Fair (December 17, 2015)

Ehrenstein, David. "Complicity and Christine: Yes, snuff films exist—right in our news feeds." Keyframe (October 12, 2016)

Gunzburg, David. "Realistic, Like In a Movie: On Facts, Procedurals, and Memories of Murder." Photogenie (October 1, 2013)

Hudson, David. "Bob Dylan Wins the Nobel Prize." Keyframe (October 13, 2016)

Lear, Norman. "Just Another Version of You: The Life, Art and Activism of Legendary TV Producer Norman Lear." Democracy Now (October 25, 2016) ["Ninety-four-year-old legendary TV producer and longtime political activist Norman Lear has led a remarkable life. He helped revolutionize sitcom television with a string of hit shows including "All in the Family," "Sanford and Son," "The Jeffersons," "Good Times" and "Maude." In 1999, President Clinton awarded him the National Medal of Arts, saying, "Norman Lear has held up a mirror to American society and changed the way we look at it." Norman Lear is also a longtime activist, earning him a place on Richard Nixon’s enemies list and the scorn of the Christian right. His life, art and social activism is the subject of the new "American Masters" documentary, "Norman Lear: Just Another Version of You," which premieres tonight on PBS. We spoke with Norman Lear in studio last week."]

"Platform." The Movement for Black Lives (ND)

Rickford, Russell. "Managed Democracy And The Illusion Of Politics." AAIHS (October 23, 2016)

"Teaching The New Jim Crow." Teaching Tolerance (ND)

Young, Alden, "Braveheart for Black People: A Review of Birth of a Nation." AAIHS (October 25, 2016)



Tuesday, October 25, 2016

Resources for October 25, 2016

Arnade, Chris, Jim O'Grady and Kai Wright. "Race, Class, and the United States of Anxiety." On the Media (October 19, 2016)

Blyth, Mark, David Kaiser and Vanessa Williamson. "The French Sensation: Income Inequality in the United States, 1910 - 2010." Open Source (May 1, 2014) ["The hottest book everybody is talking about, that no one has read and no can get their hands on, is a giant, data-packed tome on income inequality covering three hundred years of history by the French economist Thomas Piketty. Is there a reason he’s getting the rock star treatment? Is it the symptoms that resonate (our drift into oligarchy), or is it the cure (a progressive tax on wealth)?"]

Everything Change: An Anthology of Climate Fiction  Imagination and Climate Futures Initiative ["Everything Change features twelve stories from our 2016 Climate Fiction Short Story Contest along with along with a foreword by science fiction legend and contest judge Kim Stanley Robinson and an interview with renowned climate fiction author Paolo Bacigalupi." - free to download in PDF format]

Guerard, Emma, et al. "Babe: That'll Do Comrade, That'll Do." Flixwise #24 (July 19, 2016)

"The Harder They Come." See Hear #30 (July 19, 2016) ["Perry Henzel’s 1972 film, “The Harder They Come” starring reggae superstar, Jimmy Cliff. This film is important in so many respects – it brought Jimmy Cliff to a worldwide audience, it had a brilliant soundtrack, and it was the first Jamaican feature film. Henzel declared he made it for Jamaica, but many people outside Jamaica have embraced it as it encompasses the well used movie theme of fighting back against a corrupt society in all its facets – employers, the recording industry, religion, and the law. Jimmy Cliff plays Ivan, a young naïve country man coming to Kingston hoping to make it in the music industry, but has his dreams crushed at every turn – until he decides to take matters into his own hands, for better or worse. Make no mistake - he is an anti-hero with many failings of his own. Tim, Bernie and Maurice discuss these themes as well the influence it has left on so many other films, music as politics, where the movie fits into the mood of film movement of the day, and whether you can really hold off an entire army with one six-shooter. Tim even suggests a unique ratings system for this movie."]

Harlan, Susan. "A Poem About Your University's Brand New Institute." McSweeney's (August 10, 2016)

Hurne, Mark, Cott Nye and Aaron West. "A Brighter Summer Day." Close-Up #44 (July 19, 2016) ["Among the most praised and sought-after titles in all contemporary film, this singular masterpiece of Taiwanese cinema, directed by Edward Yang, finally comes to home video in the United States. Set in the early sixties in Taiwan, A Brighter Summer Day is based on the true story of a crime that rocked the nation. A film of both sprawling scope and tender intimacy, this novelistic, patiently observed epic centers on the gradual, inexorable fall of a young teenager (Chen Chang, in his first role) from innocence to juvenile delinquency, and is set against a simmering backdrop of restless youth, rock and roll, and political turmoil."]

Mattson, Stephen. "Social Justice is a Christian Tradition - Not a Liberal Agenda." Sojourners (August 11, 2015)

Pasternack, Jesse. "Sex, Music, and Death: Why The Hunger is the Definitive David Bowie Film." A Place for Film (October 24, 2016)

Sams, Josh. "The Street Fighter Films: How to And How Not to Adapt a Video Game." Dialogic Cinephilia (October 24, 2016)


Monday, October 24, 2016

Josh Sams -- "The Street Fighter Films: How to And How Not to Adapt a Video Game" (ENG 102)

The Street Fighter Films: How to And How Not to Adapt a Video Game

Adapting a videogame into a movie has always been a challenge. While some good videogame movies exist, they’re just drops in a sea of faulty adaptations that either try so hard to please the general audience that they end up disappointing the fans, or focus too much on the fans and lose the general audience. The Street Fighter series has had its share of movies with varying degrees of quality. Street Fighter: The Legend of Chun-Li(2009) has been endlessly criticized for being extremely unfaithful to its source material and having a general lack of quality that drove away casual moviegoers. On the other hand, Street Fighter: Assassins Fist(2014) has been praised not only for being true to the games, but also for being accessible to a more general audience. But how do two movies based on the same source material have such drastically different reception? Where does Assassins fist succeed where Chun-Li fails?





The first point where The Legend of Chun-li fails is in its choice of main character. No one will deny that Chun-li is one of the most recognizable characters in the Street Fighter series, but at the same time, her backstory isn’t the most compelling. It’s enough for a brief arcade mode ending yes, but nowhere near enough for a movie with an hour and a half run time. Her backstory basically boils down to a generic police drama. When Chun-Li was a child her father was kidnapped, she joins the ICPO (or Interpol) at age 18 to aid in the investigation. Eventually she learns that criminal organization called Shadaloo was directly involved with her father’s disappearance and dedicates herself to taking them down (Taylor). Adapting such a basic story into a feature length film, while not impossible, would be extremely difficult due to not having much at all to work with. There was also the challenge of trying to add something new for fans of the series so it didn’t feel like a retread of the game’s story, doing things like adding characters such as Charlie from the Street Fighter: Alpha series, touching on Chun-Li’s training with her master Gen, and changing the abilities and backstory of the main villain M.Bison. While the intent of these decisions were good, it just made the movie seem more like Capcom trying to alter the lore of the series rather than expand upon it.  The big problem with choosing this character was that her story was too basic to work with and had very little that could be added on. On top of this, the few things they do add seem to just be thrown in with no real cohesion or build up. Bison’s origin is mostly withheld throughout the whole movie, but then it’s given to us all at once in an exposition dump right before the final scene. A better way to go about this would’ve been to use a different character. If they were dead set on using a female character, then they could’ve gone with Cammy, a woman who was kidnapped by M.Bison and turned into a Bison Doll, a brainwashed soldier that fights for Shadaloo. She was able to break free and now fights for an anti-terrorism force called Delta Red. This story would’ve given a more insider perspective of Shadaloo, and having to fight other Bison Dolls would be an interesting dilemma. Of course, there was also the option of using the series’ main characters.
Assassin’s fist knew what story to adapt. Not only are Ryu and Ken the most known characters in the game, but their training with Gouken and the struggles that come from it also allow for a more interesting story.  This mainly comes from the fact that so many different stories tie into this one. The backstory of Gouken and Gouki, the development of Ryu and Ken’s bond, and the origins of Akuma are all subplots that stem from this story. These subplots are also very well implemented into the main story, everything happens very naturally. For example, Gouken doesn’t just suddenly decide to tell us why and how Gouki became Akuma, many things have to happen before he’s willing to actually do it. Ryu and Ken question the history of the techniques they’re being taught and that prompts Gouken to give them his backstory, they find a wall with previous students that underwent the same training as them with one saying “Gouki” turned around and this causes Gouken to tell them about Gouki, Ken struggles with some of the training so he tries a technique he learned from a book in a sealed off room and this causes Gouken to tell them about the dark power that consumed Gouki. The big thing here is that everything is introduced in bits rather than in one big scene in the middle of the movie that will be forgotten about when they get back to the main event. Another thing to note about the story is that it manages to stay very accurate to the source material while also allowing even long-time fans to get something new out of it simply by taking elements from multiple different places such as the Street Fighter comics, and the animated TV series and movies. The movie’s director Joey Ansah even said that even the most hardcore fans of the series would likely learn something they didn’t know from this (Ansah). But getting the story right isn’t all that goes into the good adaptation, the appearance of the characters is also extremely important.
The Legend of Chun-Li fails to accurately capture the appearance of its characters. It’s understandable that some things would get lost in the adaptation, such as Chun-Li’s oversized legs or Charlie’s ridiculous hair and the movie realizes this, but instead of making them more believable while still recognizable, it decides to make every character as different as possible. For a majority of the movie, Chun-Li doesn’t have her hair in her trademark Ox-horn style and never once does she wear any of the outfits she’s worn in any of the games. Some might say that this was done because her original outfits were too outlandish for this slightly more serious movie, but let’s think about Captain America: The First Avenger(2011) for a moment. In that movie, before Captain America gets a more updated suit, he wears something that resembles the costume he wore in the original comics. This not only gives him a reason to stay with the star spangled outfit, but it also shows that the people making the movie cared enough to acknowledge the character’s past costume while improving on it. The Legend of Chun Li could have done something similar. Have a brief scene where Chun-Li is looking for clothes to wear for her training and she comes across an outfit that resembles her costume from the Alpha series. This wouldn’t solve the problem completely, but it would’ve been nice to have something that resembled something from the games. No one expected them to get every detail right, but there are ways to make it accurate and realistic.





Assassin’s Fist realizes that the characters are designed unrealistically; this will always be the case in fighting games as a mechanical necessity. Arms, legs, feet, and hands are often oversized to make them more in line with their hitboxes. It’s something that works well in a highly stylized game but makes creating an accurate adaptation difficult. Assassin’s Fist does it’s best to make its characters more believable while keeping it accurate to the source material. This is most evident with Gouken. In the games, Gouken is more muscular than even most body builders. In the movie, he’s severely toned down, but is still extremely close to his counterpart. He looks like what Gouken would look like if he were younger and designed more realistically. Of course, appearance isn’t all that matters in regards to the characters. The crew’s knowledge of the source material is also very important.
The cast and crew’s knowledge of the games differs greatly between the two movies. While Assassin’s Fist shows a great amount of knowledge of not only the story it tells, but the Street Fighter universe as a whole, Legend of Chun-Li shows very little to no knowledge of either. Assassin’s Fist nails the relationship between Ryu and Ken, showing how their friendship turned into a friendly rivalry. Not only this, but it’s also littered with small touches like Ken’s flaming uppercut, hinting at Evil Ryu, mentioning characters like Dan, potential hints towards Balrog, references to other Capcom games, Ken giving Ryu his hairband as a memento of their training, and even a cameo by the creator of Street Fighter Yoshinori Ono that show just how dedicated the crew was to the series. There was so much dedication that their Kickstarter campaign got the attention of two backers that gave them the over $670000 they still needed to meet their goal, and even got the attention of Capcom themselves (Ansah).  This knowledge and dedication to the series is the main reason this movie succeeds as an adaptation.
The Legend of Chun-Li on the other hand, shows a lack of knowledge of the series. As mentioned before, the characters hardly resemble their video game counter parts, but it goes beyond that. How the characters act and fight, the most important part of a movie like this, is changed beyond recognition as well. For example, Balrog in the games is known for being a boxer, but the way he fights makes him seem more like a grappler. Because of this, combined with the drastic change in design, He shares practically nothing with Balrog other than his name. Vega, while fairly accurate in terms of design, is still very misunderstood by his actor. When talking to IGN about his character, Taboo talked about how Vega was a mysterious character that people didn’t know much about(IGN, 2:05). This is despite the fact that Vega has always had an established backstory and personality. He’s vain, arrogant, and obsessed with beauty, but he’s never been seen or portrayed as mysterious. But what about Chun-Li herself? Surely they’d understand their main character right? Well, no. In a behind the scenes interview, Kristin Kreurk, who plays Chun-Li, said that her fighting style was about power and gracefulness(Bartkowiak). While gracefulness does play big part, Chun-Li has never been about power. She’s about speed and landing a lot of weak hits that add up over time. There’s even an extreme misunderstanding of the main villain’s motivations and methods. M.Bison has always been a dictator that uses brute force to get his way. He’ll send his henchmen if he can, but has no problem taking matters into his own hands. He’s evil and he’s proud of it. However, in an interview with Fox All Access, Neil McDonough who plays Bison said, “He never thinks he’s doing anything evil, he just has goals he’s trying to achieve.(Fox All Access,00:58).” Taking all of this into account, the movie winds up feeling more like a cop drama with a few Street Fighter names stuck on it.
Overall, Assassin’s fist proves that when done right video game adaptations can appeal to both fans of the source material and casual moviegoers. In addition to this, many more companies are allowing their games to be made into movies. Warcraft, Ratchet & Clank, and the upcoming Assassin’s Creed, and Sly Cooper movies show how much more accepting to the idea of video game movies. Even Nintendo, who is known for having an extremely tight hold on their IPs, has allowed Legendary Pictures to start production on a live action Pokémon movie with the writers from movies like Guardians of the Galaxy.  I believe this is important because, as someone who enjoys video games, I want to see these kinds of movies succeed. I also think it can be a good way to tell the stories of these games to a new audience by eliminating the barrier of execution. I strongly believe that video game movies can succeed given the right crew and a good amount of passion for the project.


Works Cited
Ansah, Joey. “’Street Fighter: Assassin’s Fist’ Kickstarter Campaign” KickStarter (April 7, 2013): https://www.kickstarter.com/projects/1689785997/street-fighter-assassins-fist-kickstarter-campaign/posts/457062

Captain America: The First Avenger (USA, Johnston, Joe, 2011)

 “Interview with Joey Ansah.” Making of documentary Street Fighter Assassins Fist (2014)

“Interview with Kristin Kreurk.” Becoming a Street Fighter featurette (2014)
Street Fighter: Assassin’s Fist(USA, Ansash, Joey, 2014)

Street Fighter: The Legend of Chun-Li(USA, Bartkowaik, Andrzej, 2009)


Taylor, Nicholas. “Chun-Li stopped at nothing to bring down Shadaloo to avenge her father - Latest SF5 profile details the first lady of fighting gamesEventHubs (July 23,2016): http://www.eventhubs.com/news/2016/jul/23/chun-li-stopped-nothing-bring-down-shadaloo-avenge-her-father-latest-sf5-profile-details-first-lady-fighting-games

Resources for October 24, 2016

Buder, Emily. "Moonlight: Barry Jenkins on Why the Exquisite Film Nearly Killed Him." No Film School (October 10, 2016)

Christensen, Eric, et al. "Korla." The Projection Booth (July 17, 2016) ["Incredibly skilled at the keyboard, Korla Pandit came into the houses of California housewives during the '50s with his hypnotic stare and tunes. The documentary film Korla tells the story of Pandit's life and the secret with which he lived for years. Special guests director John Turner and producer Eric Christensen talk about making the documentary. Rob St. Mary joins Mike to discuss the film, exotica music, and more."]

Cowan, Katy. "Shop Cats: Photographer captures charming felines living in Hong Kong's shops." Creative Boom (October 12, 2016)

Dahl, Nel. "The Handmaiden by Gaslight: Park Chan-wook’s gothic female-vengeance drama owes a debt to George Cukor." Keyframe (October 19, 2016)

Devens, Arik and Krista Mrgan. "An Autumn Afternoon." Cinema Gadfly #23 (July 18, 2016)

Kalven, Jamie and Shannon Spalding. "Chicago Cops Who Broke 'Code of Silence' to Report Police Drug Gang Face Deadly Retaliation." Democracy Now (October 21, 2016)

Kingra, Ravinder. "The Greatest of All Food Films: That Would be Tampopo." Keyframe (October 20, 2016)

Koresky, Michael, Violet Lucca and Farran Smith Nehme. "Merchant Ivory and Howard's End." Film Comment (July 19, 2016) ["Though associated with heritage films set in Britain’s imperial past, producer Ismail Merchant, director James Ivory, and screenwriter Ruth Prawer Jhabvala have collaborated on a variety of masterfully constructed literary adaptations since the early 1960s. Perhaps the pinnacle of their collaboration is Howards End, their 1992 film based on the E. M. Forster novel about class and inheritance set in Edwardian England."]

Sarmiento, José. "Zombie’s World: Rob Zombie takes real pleasure in his craft. Can we?" Keyframe (October 19, 2016)

Saturday, October 22, 2016

Audition (Japan: Takashi Miike, 1999)




Audition (Japan: Takashi Miike, 1999: 115 mins)

Audition Critics Round Up (Ongoing Archive)

Bender, Philip J. "Sociological Aspects of Takashi Miike's Audition." Silver Screen Sessions (May 28, 2013)

Frazer, Bryant. "Audition: Calm Before the Storm." Deep Focus (ND)

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

Hyland, Robert. "A Politics of Excess: Violence and Violation in Miike Takashi’s Audition" Horror to the Extreme: Changing Boundaries in Asian Cinema. ed. Jinhee Choi & Mitsuyo Wada-Marciano. Hong Kong University, 2009: 15-37.

McGoff, Jessica. "Is Takashi Miike’s AUDITION Feminist or Exploitative?" Keyframe (May 9, 2016)

Morris, Gary. "Gore Galore: Takashi Miike's Audition." Bright Lights Film Journal (October 1, 2001)

Prewitt, Zach. "The Best Horror Cinema of the 21st Cinema." (Posted on Vimeo: October 2016)

Rivas, T.J. "The 'Dream Sequence' in Audition." FLM 110 (Westminster University: 2010)

Sato, Kuriko and Tom Mes. "Takashi Miike Interview." Midnight Eye (May 1, 2001)

Serpytyte, Agne. "Audition." Asian Cinema Blog (September 24, 2014)

Subissati, Andrea and Alexandra West. "Man Seeking Woman: Audition (1999)." Faculty of Horror #50 (May 26, 2017) ["Takashi Miike created one of the most infamous, beloved and decisive films when he made Audition: a story of people looking for love in all the wrong places that has influenced a generation of filmmakers and terrified audiences all over the world. Andrea and Alex take a deep dive into the international and seemingly universal fears of love, intimacy and what it means to be a 'good girl.'"]

Vitale, Christopher. "The Neo-Phallic Mother, Capitalism, and Takashi Miike’s Audition." Networkologies (January 30, 2010)

Wada-Marciano, Mitsuyo. "J-horror: New Media’s Impact on Contemporary Japanese Horror Cinema." Horror to the Extreme: Changing Boundaries in Asian Cinema. ed. Jinhee Choi & Mitsuyo Wada-Marciano. Hong Kong University, 2009: 15-37.








Wednesday, October 19, 2016

Resources for October 19, 2016

Bateson, James. "Object Anyway." More Perfect (July 16, 2016) ["At the trial of James Batson in 1982, the prosecution eliminated all the black jurors from the jury pool. Batson objected, setting off a complicated discussion about jury selection that would make its way all the way up to the Supreme Court. On this episode of More Perfect, the Supreme Court ruling that was supposed to prevent race-based jury selection, but may have only made the problem worse."]

Callow, Simon. "Orson Welles." The Cinema Show (July 15, 2016) [Newspaper magnate Charles Foster Kane and respected police captain Hank Quinlan, both were men tempted by darkness and both were played by Orson Welles at opposite ends of his career. Actor, writer and director Simon Callow joins Ben Rylan for an extended interview in which they unpick the many myths surrounding one of cinema’s greatest talents.]

Dargis, Manohla. "Beyond Bullets and Berets, Life in Wartime." The New York Times (October 22, 2010)

Hegedus, Chris and D.A. Pennebaker. "Unlocking the Cage." Film School (July 12, 2016) ["The latest documentary from the renowned filmmaking team of Chris Hegedus and D. A. Pennebaker (The War Room), Unlocking the Cage follows trailblazing animal rights lawyer Steven Wise in his challenge to break down the legal wall that separates animals from humans. ... Given that the Supreme Court has ruled that corporations are people, why not chimps? Attorney Steven Wise and his legal team, the Nonhuman Rights Project, are making history by filing the first lawsuits that seek to transform an animal from a “thing” with no rights to a “person” with legal protections. Supported by affidavits from primatologists around the world, Wise maintains that, based on scientific evidence, cognitively complex animals such as chimpanzees, whales, dolphins and elephants have the capacity for limited personhood rights that would protect them from abuse. The filmmakers capture Wise’s progress: from the halls of academia to animal sanctuaries and zoos, and finally into the courtrooms where he makes a compelling case on behalf of four captive chimpanzees in New York State. Unlocking the Cage captures a monumental shift in our culture, as the public and judicial system show increasing receptiveness to Wise’s impassioned arguments. It is a provocative and intimate look at a lawsuit that could forever transform our legal system, and one man’s lifelong quest to protect “nonhuman” animals."]

"High-Rise, Demolition, Mustang, Queen of Earth." AB Film Review (July 18, 2016)

Ivins, Laura. "Collaged Gluttony in Vera Chytilová’s Daisies." A Place for Film (October 13, 2016)

Johnson, Mackenzie. "What Makes David O. Russell so David O. Russell." Film Stage (October 17, 2016)

Perper, Emily. "Present Day Witchcraft: Seven Stories About Witches." Longreads (October 17, 2016)

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

Stachiw, Chris and Sean Liang. "Rosencrantz and Guilderstern are Dead." Kulturecast (July 15, 2016)

Zinn, Howard. Audio version of Zinn reading his Introduction to A People's History of the United States, 1492 - the Present.  (Posted on Soundcloud: 2015) ["Since its original landmark publication in 1980, Howard Zinn’s A People’s History of the United States has been chronicling American history from the bottom up, throwing out the official version of history taught in schools–with its emphasis on great men in high places–to focus on the street, the home, and the workplace."]

Monday, October 17, 2016

The Revenant (USA: Alejandro González Iñárritu, 2015)




The Revenant (USA:  Alejandro González Iñárritu, 2015: 156 mins)

Barber, Nicholas. "How Good is the Revenant." BBC (January 14, 2016)

Brody, Richard. "The Suffocating Solemnity of The Revenant.” The New Yorker (January 14, 2016)

Carvajal, Nelson. "The Leonardo DiCapriOlympics: Our most athletic Oscar hopeful has spent his career going for the gold." Keyframe (January 27, 2016)

Di Rosso, Jason. "What The Revenant Says About 21st Century Cinema." The Final Cut (January 8, 2016)

Efendi, Vugar. "Iñárritu's Visual Poetry." (Posted on Vimeo: May 5, 2016)

Fernandez, Carlos Rivera. "The Revenant: Metaphysical Mastery." (Posted on Vimeo: May 2016)

Greydanus, Stephen D. "The Revenant Calls for a Criticial Christian Response." Crux (April 30, 2016)

"Hugh Glass: The Truth Behind the Revenant Legend." History Net (June 12, 2006)

Lee, Benjamin. "Man behind Leonardo DiCaprio's Revenant bear attack revealed." The Guardian (January 19, 2016)

Lee, Kevin B. "Video Evidence: Oscar 2016, Best Actor." Keyframe (January 19, 2016)

---. "Video Evidence: Oscar 2016, Best Cinematography." Keyframe (February 3, 2016)

---. "Video Evidence: Oscar 2016, Best Director." Keyframe (February 4, 2016)

---. "Video Evidence: Oscar 2016, Best Supporting Actor." Keyframe (January 26, 2016)

Orr, Christopher. "The Revenant: Beauty and Brutality in Equal Measure." The Atlantic (January 8, 2016)

The Revenant Critics Round Up (Ongoing Archive)

"The Revenant, Top 3 Best Shot Films of 2015." In Session Film (January 10, 2016)

Schmidlin, Charlie. "Interview: Cinematographer Emmanuel Lubezki Talks ‘The Revenant’, Working With Terrence Malick, Muting The Ego & Much More." The Playlist (February 10, 2016)

Sheedy, Matt. "The Revenant: A Film Review Essay (Sort of)." Religion Bulletin (February 19, 2016)

Straker, Damien. "The Revenant - Film Review/Analysis." Impulse Gamer (January 13, 2016)

Tallerico, Brian. "The Revenant." Roger Ebert (December 21, 2015)

Thomas, Leon. "An Analysis of The Revenant." (Posted on Youtube: July 14, 2016)

Williams, Tony. "Stillness in the Revenant." (Posted on Vimeo: April 2016)
















The Revenant by Tarkovsky from Petrick on Vimeo.














Sunday, October 16, 2016

Resources for October 16, 2016

Bateman, Oliver. "Being a Bumpkin: Three new books try to untangle the Gordian knot of white-trash identity." The Paris Review (October 10, 2016)

Callaghan, Ann, Annie Sprinkle and Beth Stephens. We're All a Little Ecosexual." Outside (October 5, 2016)

Carlin, Dan. "A Bodyguard of Lies." Common Sense #309 (September 9, 2016)  ["Secrecy, hacking, information leaks, whistle-blowers, foreign-operative propaganda pushers, disinformation, election tampering and the search for any truth in cyberspace occupy Dan's thoughts in this show."]

Lanza, Robert. "Biocentrism: Rethinking Time, Space, Consciousness, and the Illusion of Death." Ideas (October 4, 2016) ["Dr. Lanza provides a compelling argument for consciousness as the basis for the universe, rather than consciousness simply being its by-product."]

"Logical Fallacies." Purdue Online Writing Lab (ND)

López, Cristina Álvarez and Adrian Martin. "Roman Polanski: Cinema of Invasion." ACMI (October 13, 2016)

Monbiot, George. "Neoliberalism is Creating Loneliness. That's What's Wrenching Society Apart." The Guardian (October 12, 2016) ["Epidemics of mental illness are crushing the minds and bodies of millions. It’s time to ask where we are heading and why.]

"Prison Strike Having Major Financial Impact on California." Popular Resistance (October 12, 2016)

Romney, Jonathan. "Film of the Week: Certain Women." Film Comment (October 13, 2016)

"Silicon Valley And Police Create COINTELPRO For Tech Age." Popular Resistance (October 15, 2016)