Activist & Political · Essays · Historical & Epic
“In reflecting the postcolonial sensibilities, rather than the imperialist enthusiasms, of the early twenty-first century, the film is very much a creature of its time.”
Long have you timidly waded holding a plank by the shore, Now I will you to be a bold swimmer, To jump off in the midst of the sea, rise again, nod to me, shout, and laughingly dash with your hair. — Walt Whitman, Song of Myself
“Charlie Kaufman’s film(script) can be understood as a commentary on a line from E. M. Cioran: ‘He who does not believe in the impossibility of truth, or does not rejoice in it, has only one road to salvation, which he will, however, never find.'”
“Somebody threw a dead dog after him down the ravine.”
“Caché lays bare a heavy psychological truth about the collective unconscious — without submitting to another perspective, we may not be able to recognize and acknowledge the abject parts of our own selves, even when they are clearly presented to us, hidden in plain sight.”
“I wish I was beside her but I’m not there, I’m gone” — from I’m Not There, Bob Dylan
“Bottled and packaged products were sold mainly according to static imagery and rhetorical claims. With the advancing sophistication of the cinematic age, however, we gradually developed a taste for kinesthesia, ending the false dignity of stasis. The famous Heinz commercial, featuring ketchup slowly trickling downward onto a nude meat patty, was our watershed moment, our epiphany.”
They might be learning to be human, too
“When I told my students I have a harder time than that shrugging off Hollywood’s misguided adaptations and revisions, one said, ‘Why? Whenever you want to, you can still go back and read the book.'”
Activist & Political · Essays · TV & Streaming
“There was a time when the Corporation for Public Broadcasting, ‘formed as an educational, non-commercial, and public interest alternative to the vast wasteland of commercial networks,’ meant something other than drearily underproduced Anglophone mysteries, self-help seminars for pensioners and forced retirees, staged cooking lessons, cheapjack puppet shows, and various and unspeakable retrenchments of the petit bourgeoisie.”
Essays · Historical & Epic · Music & Musicals
“While Powell and Pressburger were masters of the classic show-don’t-tell method, they also daringly broke the rule by telling, not showing. Both techniques ultimately serve the same purpose. Despite the aesthetic of excess often attributed to the Archers’ films, they gain power by withholding certain elements, requiring the audience to supply what’s not there.”
“The cheap production values of most WIP films required them to rely on the promise of forbidden spectacles such as sex (‘Love Starved Women!’), violence (‘Rape, riot, and revenge’), and often the pretense of an exposé (“The story of a woman’s prison today’) to attract moviegoers.”
“Director Arnold heightens the once-“natural” processes of life events such as birth and death by setting them outside, historically as if for the last time, before Western medicine and Victorian domesticity.”
Then goodness knows what will happen
“I didn’t come all the way down to Jamaica to become a slut.”— How Stella Got Her Groove Back
“Life is a continuity which does not begin at birth; it is split up by birth.” — Nandor Fodor
Documentaries · Essays · Reviews
“To be sure, only a redeemed mankind receives the fullness of its past — which is to say, only for a redeemed mankind has its past become citable in all its moments. Each moment it has lived becomes a citation a l’ordre du jour — and that day is Judgment Day.” – from “On the Concept of History” by Walter Benjamin
Essays · Genres · LGBT & Queer · Memoir
“Just by going to the movies I became, like the Final Girl, a target. A target, in my case, for bullies loitering outside the theater after the movie’s over. Having been beaten up under the marquee in sixth grade, I’d become reluctant to attend horror movies. But I had to go, despite the risk. I had to see — to see as the Final Girl sees.”
“The film’s main focus remains on the body as undesirable, non-ideal, open to external aggression and pollution. In typical Polanski fashion, the audience is trapped in an ‘uncomfortable visual space’ where the concept of a stable individual identity is never a matter of choice, but instead constituted by our surroundings and forces well beyond our grasp.”
“Admittedly, the night lights and bright beaches of L.A. are attractive, but these are just surfaces of the material world that spellbind souls into the pits of hell, whether they be the Los Angeles Basin or San Fernando Valley. I will take my shot at warning you by using films evidencing L.A. to be hell, or damn near it.”
