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Blogging Pound’s The Cantos: Canto LXII – gordsellar.com on:
The Esteemed Black Actresses Who Finally Have the Spotlight – The New York Times – Celebrity News on:
Festivals & Awards · Uncategorized
“At a protest against the demolition of the historic Emek theatre, Nil was beaten and kicked by police offers. My fellow FIPRESCI juror, the excellent critic Berke Göl, was grabbed by the throat, punched, and arrested. Hundreds of other protestors — largely film critics, actors, and directors including festival guest Costa-Gavras — were subject to police force.”
Essays · Exploitation & Erotica
The causation of this book’s variable inattentiveness to any coloring detail is the same source of the book’s greater fundamental and overarching flaw. Fifty Shades of Grey just has too much sex in it.
“Django Unchained was the subject of controversy due to its use of racial epithets and depiction of slavery; many reviewers have defended the usage of the language by pointing out the historic context of race and slavery in America. Spike Lee, in an interview with Vibe magazine, said he would not see the film, explaining, ‘All I’m going to say is that it’s disrespectful to my ancestors. That’s just me . . . I’m not speaking on behalf of anybody else.’ Lee later tweeted, ‘American Slavery Was Not a Sergio Leone Spaghetti Western. It Was A Holocaust. My Ancestors Are Slaves. Stolen From Africa. I Will Honor Them.’ Writing in the Los Angeles Times, journalist Erin Aubry Kaplan noted the difference between Tarantino’s Jackie Brown and Django Unchained: ‘It is an institution whose horrors need no exaggerating, yet Django does exactly that, either to enlighten or entertain. A white director slinging around the n-word in a homage to ’70s blaxploitation à la Jackie Brown is one thing, but the same director turning the savageness of slavery into pulp fiction is quite another.'” — Wikipedia
Essays · LGBT & Queer · Reviews
“The queer theorist Leo Bersani has argued for the “self-shattering” qualities of gay sex, but Plata Quemada foregrounds gay desire as a mutually shattering event. The film’s romantic nihilism is at the heart of both its appeal and its essentially troubling nature.”
An ongoing column that looks at some of the most intriguing of recent, under-the-radar releases
“Indeed, if there is a single distinguishing feature of Beresford’s technique, it is a persistent evenhandedness that refuses to either exalt or vilify. In writing the screenplay for Breaker Morant, he explains, ‘I wasn’t interested in making these men out to be heroes. I wasn’t trying to whitewash the situation. What I was interested in was the moral responsibility in times of war.'”
“The film beautifully captures the slow decomposing of its characters by following a parallel process at the level of cinematic composition.”
Actors & Personalities · Books
Lee Marvin: Point Blank, by Dwayne Epstein. Tucson, AZ: Schaffner Press, 2013. 303pp. Hardcover. $27.95. With his many iconic films, his record of combat action in the Pacific during WW2,[…]
EDITOR’S NOTE: Our innate modesty and abhorrence of insularity, self-referencing, self-reflexivity, and, well, self-everything would normally prohibit us from publishing this piece. But we were so captivated by this tribute[…]
Note: This tribute to Bette Davis appeared previously in online Bright Lights in 1997. “Millions of moviegoers responded to the challenge of her headstrong, neurotic heroines who, like Frankenstein’s monster,[…]
Hollywood Cinema and the Real Los Angeles, by Mark Shiel. London: Reaktion, 2012. Hardback: $39.00. 336pp. ISBN: 978-1-86189-902-6 We all think we know Los Angeles. We think we know it because[…]
Mae Murray: The Girl with the Bee-Stung Lips, by Michael Ankerich. Lexington: University Press of Kentucky, 2012. Hardcover. $40.00. Not too many remember Mae Murray. Not a one of her[…]
Rape-Revenge Films: A Critical Study, by Alexandra Heller-Nicholas. Jefferson, NC, and London: McFarland, 2011. Paperback. $45.00 Rape-Revenge Films: A Critical Study opens with Jean-Luc Godard’s well-traveled maxim that “all you need[…]
The directorial personality of Michael Curtiz remains elusive, but his visual talent is indisputable. Look closely at the lighting and composition of these images from Mystery of the Wax Museum[…]
Hungarian-born filmmaker, Michael Curtiz (pictured with Joan Crawford, above), is considered by many to be one of the quintessential Hollywood directors – he is, after all, the man who[…]
“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.”
“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.”
“It is a much starker contrast than, say, in Hitchcock’s London films of the same period, where the humorous grace notes of the urban everyday and a happy ending are balanced throughout by a recognition of the inherent instability and all-out terror of the same modernity that produces those grace notes.”
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.”
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.”
