tag:blogger.com,1999:blog-111484402024-03-14T08:55:16.876-04:00LabuzaMovies.ComMusings on all things cinematic by Peter LabuzaPeter Labuzahttp://www.blogger.com/profile/09057154332391743369noreply@blogger.comBlogger428125tag:blogger.com,1999:blog-11148440.post-6399460473202455592016-06-12T16:06:00.002-04:002016-06-12T16:06:27.693-04:00MOVINGThis used to be Peter Labuza's website. Chances are you are looking for <a href="http://www.labuzamovies.com/">www.labuzamovies.com</a>.<br />
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Thanks!Peter Labuzahttp://www.blogger.com/profile/09057154332391743369noreply@blogger.com1tag:blogger.com,1999:blog-11148440.post-57462782529810883282015-11-13T02:16:00.002-05:002015-11-13T02:16:50.779-05:00Booklets Across The Atlantic<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Trebuchet MS, sans-serif;">A quick, brief update in addition to some of the other things I have been writing. Some may remember that a couple years I helped edit a few booklets for the UK Blu-Ray label, <i><a href="https://www.eurekavideo.co.uk/moc" target="_blank">Masters of Cinema</a></i>. Well, I've done two more for them, which are now available for pre-order. </span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">First up is <a href="https://www.eurekavideo.co.uk/moc/shane" target="_blank">George Stevens's <i>Shane</i></a>. For the aspect ratio purists out there (or the 1.66 Nazis), this disc of <i>Shane</i> comes with three different versions: the theatrical 1.66 release, Stevens's intended 1.34 release, and a new 1.66 release to more accurately capture the images, supervised by George Stevens Jr. In the booklet, you'll find a 1954 essay on <i>Shane</i> by <i>Sight & Sound</i>'s Penelope Huston, excerpts from an unpublished interview with Stevens from 1968, an unpublished correspondence between Ivan Moffat and Stevens about their idea for a prologue, and an excerpt from a recent essay by <a href="http://www.thecinephiliacs.net/2014/06/episode-41-adam-nayman-all-is-forgiven.html" target="_blank">Adam Nayman</a> on <i>Reverse Shot </i>on the history of the aspect ratio changes.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Secondly, there is John Ford's iconic Irish masterpiece, <i><a href="https://www.eurekavideo.co.uk/moc/quiet-man" target="_blank">The Quiet Man</a> </i>with John Wayne and the recently departed Maureen O'Hara. It includes a new and fantastic essay by <a href="http://www.thecinephiliacs.net/2013/08/episode-25-sheila-omalley-opening-night.html" target="_blank">Sheila O'Malley</a>, a 1953 profile on John Wayne, a 1955 profile on Ford, and a fantastic profile on the oft-forgotten DP of the film, Winton Hoch, who may have been one of the greatest Technicolor technicians of his day.</span><br />
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<span style="font-family: 'Trebuchet MS', sans-serif;">Each booklet features amazing materials: essays, archival materials, set photos, all to help expand your understanding of these works. </span><span style="font-family: Trebuchet MS, sans-serif;">So check 'em out, and enjoy reading!</span>Peter Labuzahttp://www.blogger.com/profile/09057154332391743369noreply@blogger.com2tag:blogger.com,1999:blog-11148440.post-49074796268943285652015-08-30T13:06:00.001-04:002015-08-30T13:18:30.302-04:00Classicists at War: An Unfinished Image Essay<div class="separator" style="clear: both; text-align: left;">
<span style="font-family: Georgia, Times New Roman, serif;"><i>In January of this year, I began work on an image essay comparing John Ford's masterpiece</i> The Searchers <i>to </i>American Sniper<i>, Clint Eastwood's recent examination on the wars in the Middle East. Besides their attention to American iconography, both struck me for the core conservative values at the heart of each film that the directors felt they were challenging within themselves, never attempting to simplify their depiction of the world. I also began work because the attacks on Eastwood's film, especially in regards to its xenophobia, reminded me of the years of attacks on </i>The Searchers<i>, where critics and scholars have mistaken Ford's portrayal of racism as a direct reflection of the director's own values. Finally, Eastwood and Ford interested me in what has been called a type of "classicism" of directing, where editing and gestural actions are kept in a balance to turn simplistic images into iconographic and representational ones.</i></span></div>
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<i><span style="font-family: Georgia, Times New Roman, serif;">I eventually got busy and abandoned the project. It was too big, too massive in scope, and at some point, I wasn't sure the images could say everything I saw in them. It didn't hurt that my friend and colleague <a href="http://www.rogerebert.com/balder-and-dash/evil-against-evil-the-fascinating-incoherence-of-american-sniper" target="_blank">Niles Schwartz published</a> one of the best pieces written on the film. However, I was cleaning out my desktop today and noted a resonance in the images once again, so I leave this as my work in progress.</span></i></div>
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<br />Peter Labuzahttp://www.blogger.com/profile/09057154332391743369noreply@blogger.com3tag:blogger.com,1999:blog-11148440.post-58859808498864750402015-08-26T13:23:00.001-04:002015-08-26T13:23:31.096-04:00A Note On Media Literacy<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;">One of the major causes for great social change in Europe in the 18th century was the role of literacy. While measuring actual levels of literacy and its meaning are contested by historians, there is no doubt that literacy reached levels that no longer included the upper class institutions, as evidenced by the numerous pamphlets spreading through France before the storming of the Bastille or the popularity of Thomas Paine's <i>Common Sense</i>. More people read, learned what was going on around them, and made judgements to change the course of history based around the persuasion of language.</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">However, literacy has always required a two way street of both education and erudition along with understanding of an audience's own proclivities. Write with obscure language and alienate your audience. Write without strong grammar or spelling and lose the other side. Literacy as both a skill of reading and writing takes time to hone and consider, and as a species, we've had numerous millennia to try and reach a state where <i>words can perform actions</i>.</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">In our myth of cinema's founding, media literacy was not innate. People ran from the train as it arrived in the station. Hungarian film theorist <a href="https://archive.org/details/theoryofthefilm000665mbp">Béla Balázs has remarked</a> upon audiences members confused where the rest of the body of a woman was while her face was in close-up. These problems, however, quickly faded away. We all quickly understood what it meant to <i>watch</i> something, how editing worked, and most importantly, that often the images presented to us contained some sort of reality equivalent, the indexical.</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">This was a hyperbolic movement of the 20th century, much faster and expedient that textual literacy. The moving image as a democratic force soon took hold as <i>the</i> medium to communicate to masses, be it <a href="http://www.jstor.org/stable/1225438?seq=1#page_scan_tab_contents">immigrant families in the Lower East Side</a>, <a href="http://isites.harvard.edu/fs/docs/icb.topic1258095.files/Solanas%20and%20Getino.pdf">abused plantations workers in Brazil watching on a cloth sheet</a>, or simply now streaming on the Internet. Maybe not everyone can read, but we sure as hell can understand the basics of a movie.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">With that rapid expansion, however, the implications of the possibilities by those who were media literate became frighteningly unchecked. We've come to understand </span><i style="font-family: Georgia, 'Times New Roman', serif;">what</i><span style="font-family: Georgia, 'Times New Roman', serif;"> we can show mass audiences and all of its potentials, but in many ways, the speed of media literacy in the 20th and 21st century has not allowed us to look further into </span><i style="font-family: Georgia, 'Times New Roman', serif;">why</i><span style="font-family: Georgia, 'Times New Roman', serif;"> and </span><i style="font-family: Georgia, 'Times New Roman', serif;">how</i><span style="font-family: Georgia, 'Times New Roman', serif;"> we are watching things. And thus, a person can now film himself willingly taking the life of two individuals, and then later his own, and gain an audience to watch his horrific acts. He has his reasons for shooting the video, as we have our reasons for watching. But perhaps we aren't as media literate as we thought. Perhaps we need to consider stronger implications of our democratizing technology, and more importantly, the low bar that media literacy allows for basic comprehension but not human comprehension. Media literacy can cause historical change, but more and more, its only aim is perhaps simply appealing to base emotions, abusing its indexical power to confuse us from reality instead of growing a larger social consciousness. Roger Ebert called cinema a great empathy device. I'm not sure I believe that anymore.</span></div>
Peter Labuzahttp://www.blogger.com/profile/09057154332391743369noreply@blogger.com2tag:blogger.com,1999:blog-11148440.post-58994073659002348822015-04-08T13:05:00.000-04:002015-04-08T13:05:36.970-04:00Recent Link Round-Up<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Trebuchet MS, sans-serif;">New writing from November 2014 to April 2015</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<span style="font-family: Trebuchet MS, sans-serif;">For RogerEbert.Com, a report on the <a href="http://bit.ly/1GNyJXw" target="_blank">6th Annual Turner Class Movie Film Festival</a></span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">A new essay on historical thinking, <a href="http://bit.ly/1MolxwV" target="_blank">"Race and The American Movie"</a></span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<span style="font-family: Trebuchet MS, sans-serif;">For Filmmaker Magazine, <a href="http://bit.ly/1FbTmvN" target="_blank">Thom Andersen's </a><i><a href="http://bit.ly/1FbTmvN" target="_blank">The Thoughts That Once We Had</a>.</i></span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><i><br /></i>2014 Best Of Writing</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">-Top 10 for <i><a href="http://bit.ly/1A8z4PU" target="_blank">The Film Stage</a></i></span><br />
<span style="font-family: Trebuchet MS, sans-serif;">-Submission to the <a href="http://bit.ly/1ADmV4D" target="_blank">Village Voice Poll</a></span><br />
<span style="font-family: Trebuchet MS, sans-serif;">-Capsules of <i>The Grand Budapest Hotel</i> and <i>Two Days, One Night</i> <a href="http://www.inreviewonline.com/inreview/home/Entries/2014/12/31_Year_in_Review_2014_-_Top_20_Films.html" target="_blank">for <i>In Review Online</i></a></span><br />
<span style="font-family: Trebuchet MS, sans-serif;">-Episodes of <i>The Cinephiliacs</i> with Keith Uhlich, counting down <a href="http://bit.ly/1AdQRrq" target="_blank">#10-6</a> and <a href="http://bit.ly/1DrzqVL" target="_blank">#5-1</a>.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Wrote capsules for <a href="http://bit.ly/1FoxCOn" target="_blank"><i>The Film Stage</i>'s Top 50 of the Decade</a> on <i>Certified Copy</i>, <i>Mysteries of Libson</i>, <i>Cosmopolis</i>, and <i>Moonrise Kingdom</i>.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<span style="font-family: Trebuchet MS, sans-serif;">On <a href="http://bit.ly/1pYKJ2u" target="_blank"><i>L'Avventura</i> and<i> Clouds of Sils Maria</i></a></span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<span style="font-family: Trebuchet MS, sans-serif;">Shirley Clarke's <a href="http://bit.ly/1FJcO1I" target="_blank"><i>Portrait of Jason</i> and <i>Ornette: Made in America</i></a></span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><i><br /></i>
On Criterion's Box Set of the <a href="http://bit.ly/1r5DdU2" target="_blank">Documentaries of Les Blank</a></span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<span style="font-family: Trebuchet MS, sans-serif;">Jean Renoir's <i><a href="http://bit.ly/1L76SR1" target="_blank">A Day in The Country</a></i></span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><i><br /></i>
Lucercia Martel's <i><a href="http://bit.ly/1K4Z7KB" target="_blank">La Cienaga</a></i></span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><i><br /></i>
Fassbinder's <i><a href="http://bit.ly/1E6qQMt" target="_blank">The Bitter Tears of Petra Von Kant</a></i></span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><i><br /></i>
On <a href="http://bit.ly/18DcIwZ" target="_blank">Godard's <i>Every Man For Himself</i> and Truffaut's <i>The Soft Skin</i></a></span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><i><br /></i>
Robert Montgomery's <i><a href="http://bit.ly/1CPGyus" target="_blank">Ride the Pink Horse</a></i></span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><i><br /></i>
Reviews of new films: Paul Schrader's <i><a href="http://bit.ly/11JH1i2" target="_blank">Dying of the Light</a></i>, Gina Telaroli's <i><a href="http://bit.ly/12WPyP1" target="_blank">Here's To The Future!</a></i>, and Paul Harril's <i><a href="http://bit.ly/1zXa7V9" target="_blank">Something, Anything</a>.</i></span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><i><br /></i>
Episodes of <i>The Cinephiliacs</i>: <a href="http://bit.ly/1zg5OHD" target="_blank">Mike D'Angelo</a> on <i>Buffalo '66</i>, <a href="http://bit.ly/1E11RuU" target="_blank">Tina Hassania</a> on <i>You've Got Mail</i>, <a href="http://bit.ly/18iyjLj" target="_blank">Matías Piñeiro</a> on <i>Duelle</i>, <a href="http://bit.ly/1vcq3RY" target="_blank">Doug Dillaman</a> on <i>My Neighbor Totoro</i>, <a href="http://bit.ly/1Ec6KQ8" target="_blank">Kris Tapley</a> on <i>JFK</i>, <a href="http://bit.ly/1EsJSLZ" target="_blank">Jan-Christopher Horak</a> on <i>Her Sister's Secret</i>, <a href="http://bit.ly/1MZtXYF" target="_blank">Calum Marsh</a> on <i>The Last Days of Disco</i>, and <a href="http://bit.ly/1D9YeRm" target="_blank">Kiva Reardon</a> on <i>Leave Her To Heaven</i>.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Capsules from <a href="http://letterboxd.com/labuzamovies/" target="_blank">Letterboxd</a>:</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Contemporary: <i><a href="http://letterboxd.com/labuzamovies/film/run-all-night/" target="_blank">Run All Night</a></i>, <i><a href="http://letterboxd.com/labuzamovies/film/jupiter-ascending/" target="_blank">Jupiter Ascending</a></i>, <i><a href="http://letterboxd.com/labuzamovies/film/a-most-violent-year/" target="_blank">A Most Violent Year</a></i>, <i><a href="http://letterboxd.com/labuzamovies/film/the-congress-2013/" target="_blank">The Congress,</a></i> <i><a href="http://letterboxd.com/labuzamovies/film/beloved-sisters/1/" target="_blank">Beloved Sisters</a></i>, <i><a href="http://letterboxd.com/labuzamovies/film/eden-2014-1/" target="_blank">Eden</a></i>, <i><a href="http://letterboxd.com/labuzamovies/film/nightcrawler/" target="_blank">Nightcrawler</a></i></span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Works from India: <i><a href="http://letterboxd.com/labuzamovies/film/the-cloud-capped-star/" target="_blank">The Cloud-Capped Star</a></i>, <i><a href="http://letterboxd.com/labuzamovies/film/gangs-of-wasseypur/" target="_blank">Gangs of Wasseypur</a></i>, <i><a href="http://letterboxd.com/labuzamovies/film/jewel-thief/" target="_blank">Jewel Thief</a></i>, <i><a href="http://letterboxd.com/labuzamovies/film/awaara/" target="_blank">Awaara</a></i>, </span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Expressive Esoterica: <i><a href="http://letterboxd.com/labuzamovies/film/gone-in-60-seconds/" target="_blank">Gone in 60 Seconds</a></i>, <i><a href="http://letterboxd.com/labuzamovies/film/the-avenging-eagle/" target="_blank">The Avenging Eagle</a></i>, <i><a href="http://letterboxd.com/labuzamovies/film/junior-bonner/" target="_blank">Junior Bonner</a></i>, <i><a href="http://letterboxd.com/labuzamovies/film/now-ill-tell/" target="_blank">Now I'll Tell</a>, <a href="http://letterboxd.com/labuzamovies/film/the-sons-return/" target="_blank">The Son's Return</a>, <a href="http://letterboxd.com/labuzamovies/film/bed-time/" target="_blank">Bed Time</a>, <a href="http://letterboxd.com/labuzamovies/film/mr-majestyk/" target="_blank">Mr. Majestyk</a></i>, </span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Bullshit: <i><a href="http://letterboxd.com/labuzamovies/film/shame-2011/" target="_blank">Shame</a></i></span>Peter Labuzahttp://www.blogger.com/profile/09057154332391743369noreply@blogger.com9tag:blogger.com,1999:blog-11148440.post-48505812106239586602015-01-22T03:00:00.000-05:002015-01-22T03:07:23.047-05:00Michael Mann's Blackhat<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjduFm1rh-qBR8cxOoqsWcj5pQn7rNdbcZSxuqaabZ67wKHS17V88n0R8pROdHw_ZWcw1gQGJWfXPN_WxIm4TjhjUFDNx_gisPhMmh6PqGwJ6T8LETK5aZiQ5G2tO538EWITRdrQ/s1600/Screen+Shot+2015-01-21+at+11.50.54+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjduFm1rh-qBR8cxOoqsWcj5pQn7rNdbcZSxuqaabZ67wKHS17V88n0R8pROdHw_ZWcw1gQGJWfXPN_WxIm4TjhjUFDNx_gisPhMmh6PqGwJ6T8LETK5aZiQ5G2tO538EWITRdrQ/s1600/Screen+Shot+2015-01-21+at+11.50.54+PM.png" height="170" width="400" /></a></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Computer
technologies, <span style="mso-bidi-font-weight: bold;">digital networks</span> and
interfaces, and mobile communications tend to intensify physical presence by
paradoxically putting new emphasis on bodily knowing, communications, and <span style="mso-bidi-font-weight: bold;">tactile</span> information. <o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">—Brandon
LaBelle, <i style="mso-bidi-font-style: normal;">Background Noise<o:p></o:p></i></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Michael
Mann has finally made a film about idealist individuals. Or at least a film
about those who break the patterns of the streams they live in, as opposed to
accept the inexplicable systems that form their societies. Clouds form abstract
shapes above cities, where rigid and jagged materials form distinct lines. Even
the streets of Hong Kong and its endless bazaars simply look like a grid from
above. There is complex theory and there is chaos theory. Mann knows the world
is the former, but he can’t help but shoot his camera up toward the latter—searching
the heavens for freedom.<o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><i style="mso-bidi-font-style: normal;">Blackhat</i> is Mann’s first feature
film since 2009’s <i style="mso-bidi-font-style: normal;">Public Enemies</i>,
which was a film about a rebel in a world where systems of organization were
developed into making him simply an anomaly to be targeted and erased. The
protagonist of <i>Blackhat</i>, Chris Hemsworth’s Hathaway, has yet to be erased, but now
simply acts as another cog in a guarded system—he’s a hacker doing time in
prisons, spending his days reading up on Foucault. He knows that simply because
he’s surrounded by walls doesn’t mean the outside world is anything but a
prison without them. When he first steps out onto the runway of an airport, he
can only see material of grays and blacks, out of focus and without dimension. It’s
simply a mass.<o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Then
a hand grabs his arm, and everything becomes tangibly real.<o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">That
hand belongs to Lien (Tang Wei), a female engineer who happens to be the sister
of Hathaway’s partner in a global hacker investigation, Dawai. On paper,
there’s nothing that remotely should bring these two together beyond the
conventions of Hollywood storytelling. But cinema isn’t a tale of what’s, but
how’s. That hand is the first of many tactile surfaces that bring these bodies
together. Mann uses cinematic sight to represent touch, making each haptic
surface contain a <i style="mso-bidi-font-style: normal;">felt</i> presence by
simply being captured by his camera. Each of Hemsworth’s little unshaven stubs.
Tang’s hair, each strand flowing in the wind. The feel of their skin being held
by each other means they tangible exist together in a world where planes of
space are dissolving. <o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">There
is a sense in <i style="mso-bidi-font-style: normal;">Blackhat</i> that the
digital world has collapsed time and space—when Lien and Hathaway must escape
at one point, there is an ad for a wristwatch literally looming behind them in
the window—but if you can have a tangible body, then you have something to <i style="mso-bidi-font-style: normal;">hold</i>. “She’s never been this happy,”
Dawai tells Hathaway. But what happens when that material is no longer there?
If Hathaway is simply part of the network, his corporeal self is a program
waiting to be erased.<o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><i style="mso-bidi-font-style: normal;">Blackhat</i> begins in Beyond Jupiter, a
CGI created environment of a grid only imagined as the flow of light. And it’s
a film about how intangible material, only imagined through computer screens,
becomes real (a password is captured as a series of handstrokes). There
is a haunting immediacy through the digital cinematography developed by Mann
and his DP Stuart Dryburgh. Often shot in what appears like high-frame rate or
motion smoothing, the action in <i style="mso-bidi-font-style: normal;">Blackhat</i>
has a surreal feeling: alien in its untraditional cinematic look, while all too
authentic in the feeling that each gesture belongs to the here and now. Physical
violence appears smeared through its velocity; explosions of fire are slowed to a stop
to capture those infinite seconds before material turns to chaos. And simply look at
the blood pouring out at one moment: it has a silver sheen to the dark hues.
This isn’t the movie world. It’s as real as that feeling of when a knife moves
into a body. It’s there. It happened. <o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">But
movie worlds are so key to Mann’s way of making movies. His characters are
archetypes, though often without much in the way of backstories or exposition.
Conversations are fueled by exposition and plot development, yet chopped at the
moment they become unnecessary. Narrative conventions are necessary evils—questionable
setups in order to achieve something lyrical, as real as the escape Hathaway
plans.<o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><i style="mso-bidi-font-style: normal;">Blackhat</i>’s villains are seemingly
generic, but in many ways simply anonymous. They have the wants that define
classic movie conventions (money, power), but their ultimate goals remain
undescribed, a sense of digital currency, powers outside of the perspective of
the protagonists. There are always “bigger politics” as the good guys seemingly
phrase it, but there are moments of personal, quiet devastation, like a
character recalling 9/11 before staring at a building in the sky at the
moment of death.</span></div>
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<span style="font-family: 'Trebuchet MS', sans-serif;"><br /></span></div>
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<span style="font-family: 'Trebuchet MS', sans-serif;">So
there is a price to pay, because touching photos as you swipe through a phone
isn’t the same as touching a body. So while narrative remains generic, violence
becomes real. Blackhatters</span><i style="font-family: 'Trebuchet MS', sans-serif;"> </i><span style="font-family: 'Trebuchet MS', sans-serif;">flow with
the system in order to exploit it; Hathaway flows against the lights of a
Jakarta festival, no longer working in the world he helped to create. In the
end, he must touch his enemy—a knife, twelve times into the stomach—in order to
bring some justice. Not total justice, and not total freedom. A surveillance
screen still catches their movements after all.</span></div>
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<span style="font-family: 'Trebuchet MS', sans-serif;"><br /></span></div>
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<span style="font-family: 'Trebuchet MS', sans-serif;">And yet these bodies are
together, moving as one. </span><span style="font-family: 'Trebuchet MS', sans-serif;">They are no longer cogs in a mass, but clouds moving
into a white sky.</span></div>
Peter Labuzahttp://www.blogger.com/profile/09057154332391743369noreply@blogger.com1tag:blogger.com,1999:blog-11148440.post-53690575101447847632015-01-16T20:38:00.000-05:002015-01-16T20:38:01.454-05:00Comic Ideology: Richard Fleischer's Mandingo<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4W0d7slvwudzXa_rmenk8tFVh3wzuyLeBJXcl7Z4GZIC5ZHWej-LIB3t2Zn_xlDGn4Ym505Fs8LUv-q6rp1QdoaDE6oVN0VFtnCp5CYhvv4YxsubIx2DrwqTAhXo0Rqmdue55kQ/s1600/94272342.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4W0d7slvwudzXa_rmenk8tFVh3wzuyLeBJXcl7Z4GZIC5ZHWej-LIB3t2Zn_xlDGn4Ym505Fs8LUv-q6rp1QdoaDE6oVN0VFtnCp5CYhvv4YxsubIx2DrwqTAhXo0Rqmdue55kQ/s1600/94272342.png" height="226" width="400" /></a></div>
<span style="font-family: Trebuchet MS, sans-serif;">Less a cousin of <i>Django Unchained</i> than <i>12 Years A Slave</i>, <i>Mandingo</i> addresses the issues of personal pleasure (sexual and violent) against the ideology of the South and slavery. But where McQueen's choice of a hyper-aware beautiful aesthetic created an awkward rift between his distanced attempt at an objective perspective and the cartoonish behavior he documents in the narrative's latter half (mostly thanks to Michael Fassbinder's performance), director Richard Fleischer's choice to embrace the exploitation tone makes this a more nuanced affair in many ways. Because <i>everyone</i> acts like they're in a bad version of Masterpiece Theater (just watch James Mason chomp up every line), the parts where their artifice often breaks feels more in tuned with ideological frameworks as a form of performativity, and thus a the film's sense of psychological nuance becomes a realism. The confrontation between Made and Blanche is full of very careful performance moments where they're intellectual desires slowly fall, and thanks to his zoom lenses, Fleischer captures the psychology changing before their eyes in a way that would make Béla Balázs shout with joy. The face in <i>Mandingo</i> becomes a tool for political discourse.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Fleischer shoots the film in 1.85 here as opposed to his standard Cinema-Scope 2.35, but space is often a factor. White characters are often centered with African Americans pushed off to the sides, the use of mirrors allows shots to run longer and put characters into unique spatial dynamics. And a great late dolly shows a stunning moment as it repeats the opening shot of a character looking down on the slaves, but it's about who's POV this shot ultimately belongs to and what they are looking at, which isn't even revealed until halfway through the dolly.
For all its trashy gloss then, it's a film full of subtle details that feel only registered by the camera and thus the spectator gazing into the past. The way that Mason and King discuss "white ladies" is as crass and Othering as their discussion of their "wenches" and "fighting niggers." But often what's striking about the characters—both white and black—is how they look with distrust not because of ideological reasons but their own personal drives. It is simply that the system they live them allows those personal drives to be used for easy exploitation—Hammond discovers Made's fighting abilities while at a visit to a brothel, and will use his prowess to essentially supplant his sexual desire (a choice that comes back to haunt him).</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;"><a href="http://www.slantmagazine.com/film/review/mandingo" target="_blank">Fernando Croce</a> reevaluates the often dismissive comparison to <i>Showgirls</i> by noting, "both films are descendants of Douglas Sirk's sublime frenzies, utterly unafraid of looking the ridiculous straight in the eye." But it's the moments that are just barely noted—Hammond's quick-haste dismissal of his slave mistress during a moment of violent determination the most damning—that make <i>Mandingo</i> a film that captures ideology without centering it. It's a film that doesn't ask us to gawk at atrocities through a pristine lens (though really a prestige lens), but to really look beyond surfaces to see what really makes a mind work when living in an paradoxical ideology.</span>Peter Labuzahttp://www.blogger.com/profile/09057154332391743369noreply@blogger.com0tag:blogger.com,1999:blog-11148440.post-60721067338204831242014-12-15T14:12:00.002-05:002014-12-15T14:12:27.281-05:00Philippe Garrel's Jealousy<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrWglYRTM97vJUKGhGvXMBGNpHQlLpPT4qmnRRP4ZGOGD_YSEq4sSUFniayoUtvV_EVepcjGFLNheSmZ0_Ajmq2kUi-OZ_FEaHFCVOTlrcOyjAv_zr5LcBhAvDtSnYc-3ZlVftCA/s1600/Jealousy_02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrWglYRTM97vJUKGhGvXMBGNpHQlLpPT4qmnRRP4ZGOGD_YSEq4sSUFniayoUtvV_EVepcjGFLNheSmZ0_Ajmq2kUi-OZ_FEaHFCVOTlrcOyjAv_zr5LcBhAvDtSnYc-3ZlVftCA/s1600/Jealousy_02.jpg" height="225" width="400" /></a></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><i>Jealousy</i>, a 77-minute brisk waltz through a series of relationships (always ending, never beginning), is my choice for the film of the year. It's a film by Philippe Garrel, a director whose work extends back to the New Wave, but works here like the era never ended. Shot in black and white 35mm, it often feels like a relic of lost time, a slippage of memories carefully stitched together in the hope that one may learn from past mistakes. It opens with a woman crying and closes on a man staring blankly before turning off a light, and in between these shots is a search for truth in others, a fool's ambition.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">"Love has its limits," an old mentor relays to Louis, played by Garrel's own son (also Louis). Louis claims his power to love beyond anything, but by this point we know there's a difference between what he says and what he's done. He's gone one wife and one to a second, Claudia (Anna Mouglalis), but it doesn't take him long to begin prospective kisses without any emotional warning. Louis and Claudia profess their undying love in one scene while always searching beyond the frame for something else. They occasionally hint at the deep seeded mistrust underneath their words of desire, which in fact only create the fuel for the titular emotion to begin a search outside their cramped apartment.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Garrel's shots have a simplicity that simply puts characters' bodies in direct relationship to physical love. Loving moments always take place in master shots, where two bodies collapse on top of each other. Fights always appear in shot-reverse shots, the emotions unknowable within the same frame. To not embody the same space is to create suspicion, and it is only when the ugly truth is revealed can Louis and Claudia employ the same frame while showing their ugliness. Like <i>Eyes Wide Shut</i>, it's a film that asks more of the metaphysical aspects of love than tangible material. After Louis talks to a fellow cute performer in his troupe, the film cuts to Claudia sitting at dinner and suddenly feeling the urge to rush home. "I thought you left," she exclaims in her fear.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Unlike Kubrick's work, however, the deeper mystery of <i>Jealousy </i>is externalized through not anxiety but through its matter-of-fact <i>mise-en-scene</i> and especially its confrontational editing, eliding both time and emotion in a way that never announces betrayal. Each edit in a Garrel film feels like a weight of time slipping away—how much has passed exactly?—and characters slip out of life like the rushing water of a stream, their sudden change in feeling a cause of time more than human control. Jean-Louis Albert's guitar and piano gently hum along to signal the lightness of image that sublimates the complex emotions. A pleasant day of father-child-and girlfriend in the park produces happy memories that are juxtaposed with mother's work of cooking, tucking in, and then sewing while the child sleeps (will she ever remember the real work of true love?). The decrepit walls of a tiny apartment signal the own tenuousness of the love produced there, and Claudia's most damning betrayal for Louis is not her physical one but the fact she abandons their calling as struggling artists. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">In the end, it's all acting perhaps ("So don't imagine"), not just for one's lover but for oneself. Strangers can bring you freedom ("Don't ask my name or if I come here often"), but real love is always in some way, dependent on a performance ("If you knew, why did you pretend tonight?"). Even a devastating gesture only represents a desire to play to a certain audience uninterested in attending this play. Only the child can see past the performance, incredulous that her own birth was love at first sight. Before <i>Jealousy</i> reaches that final shot of Louis, the final scene begins to fade to white as the film stock rolls out—a technical mistake or the signaling that it's all a dream? We're not sure where exactly Louis is in that final shot, or whether he is recalling events or simply imagining them. "Everyone has their reasons," Renoir remarked 75 years ago. For Garrel's cinema, not knowing anyone else's is the tragedy.</span></div>
Peter Labuzahttp://www.blogger.com/profile/09057154332391743369noreply@blogger.com0tag:blogger.com,1999:blog-11148440.post-90602253361547317752014-12-11T04:03:00.000-05:002014-12-11T04:04:17.793-05:00Three on A Doorway<div class="separator" style="clear: both; text-align: left;">
<span style="font-family: Trebuchet MS, sans-serif;">"The lock isn't very practical, is it?"</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">"Not it's not so very practical...I guess it will serve its purpose."</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">"Outside your door was the last guy in the world I wanted to see."</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><i>The Awful Truth </i>(McCarey, USA, 1937) / <i>Double Indemnity</i> (Wilder, USA, 1944)</span></div>
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Peter Labuzahttp://www.blogger.com/profile/09057154332391743369noreply@blogger.com0tag:blogger.com,1999:blog-11148440.post-52108869426398689252014-11-28T12:14:00.001-05:002014-11-28T12:16:27.298-05:00Link Round Up: "Painless and Perfect"<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Trebuchet MS, sans-serif;">Another near the end of year massive link round-up, covering everything I wrote (<i><a href="http://www.thecriticalpress.com/product/approaching-the-end-imagining-apocalypse-in-american-film/" target="_blank">sans the book</a></i>) since September.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">I made my debut in <i>Sight & Sound Magazine</i> in November with <a href="http://bit.ly/1uRcnhS" target="_blank">a piece on Steven Soderbergh's TV series <i>The Knick</i></a>, which may not be the best series to grace the non-theatrical medium, but damn it—Soderbergh proves all my stray observations about how just because it's television doesn't mean aesthetics should come second. </span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">In lieu of New York Film Festival, Los Angeles provides us with the bigger, perhaps a bit more eclectic AFI Festival. Since most of the major titles were already at Cannes, I wrote about Joel Potrykus's recession-bro comedy <i><a href="http://bit.ly/1ESHHjH" target="_blank">Buzzard</a></i>, the modestly quirky coming-of-age meanderer <i><a href="http://bit.ly/1viNo9J" target="_blank">Tu Dors Nicole</a></i>, the latest WTF from Takashi Miike <i><a href="http://bit.ly/1ydKUGF" target="_blank">Over Your Dead Body</a></i>, and JP Snaidecki's <i><a href="http://bit.ly/1wKxlvW" target="_blank">The Iron Ministry</a></i>. Plus I spoke about <a href="http://bit.ly/1AF24Bm" target="_blank">Lav Diaz's <i>From What Is Before</i></a> on a recent podcast.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Another recent film festival visit—New Orleans! I graciously served as a juror for the Louisiana Shorts section of the 25th Annual New Orleans Film Festival, and <a href="http://bit.ly/1sx741X" target="_blank">also wrote about the wonderful experience at <i>RogerEbert.Com</i></a>. </span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Wrote about some movie called <i><a href="http://bit.ly/10i8vdv" target="_blank">Interstellar</a></i>. You may have heard of it. And also this other thing called <i><a href="http://letterboxd.com/labuzamovies/film/gone-girl/" target="_blank">Gone Girl</a></i>.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Also wrote about two other new movies of relative merit: <a href="http://bit.ly/1Dhp6wX" target="_blank">Alex Ross Perry's <i>Listen Up Philip</i></a> (which is of great proportion) and <a href="http://bit.ly/1C1rXHL" target="_blank">Damien Chazelle's <i>Whiplash</i></a> (which deserves at least some consideration).</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">In the canonical masterpiece territory, <a href="http://bit.ly/ZGnzlt" target="_blank">on John Ford's <i>My Darling Clementine</i></a>, and finding a postwar poet of cinema.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">And on <i>The Cinephiliacs</i>, New Orleans local <a href="http://bit.ly/1rIHfML" target="_blank">Angela Catalano</a> on starring a popup cinema and <i>The Texas Chainsaw Massacre</i>, director <a href="http://bit.ly/1txdcaJ" target="_blank">Alex Ross Perry</a> on his idiosyncratic approach to independent cinema and <i>Husbands and Wives</i>, and <a href="http://bit.ly/1AF24Bm" target="_blank">Kim Morgan</a> on Marilyn Monroe and <i>Something Wild</i>. </span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">And on Letterboxd...</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Hitchcock: <i><a href="http://letterboxd.com/labuzamovies/film/suspicion/" target="_blank">Suspicion</a></i>, <i><a href="http://letterboxd.com/labuzamovies/film/foreign-correspondent/" target="_blank">Foreign Correspondent</a></i>, <i><a href="http://letterboxd.com/labuzamovies/film/vertigo/2/" target="_blank">Vertigo</a></i></span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Expressive Esoterica: <i><a href="http://letterboxd.com/labuzamovies/film/dark-passage/" target="_blank">Dark Passage</a></i> (Daves), <i><a href="http://letterboxd.com/labuzamovies/film/cure/" target="_blank">Cure</a></i> (K. Kurosawa), <i><a href="http://letterboxd.com/labuzamovies/film/the-blue-gardenia/" target="_blank">The Blue Gardenia</a></i> (Lang), <i><a href="http://letterboxd.com/labuzamovies/film/chicago-calling/" target="_blank">Chicago Calling</a></i> (Reinhardt), <i><a href="http://letterboxd.com/labuzamovies/film/notes-on-the-circus/" target="_blank">Notes on the Circus</a></i> (Mekas), <i><a href="http://letterboxd.com/labuzamovies/film/whirlpool/" target="_blank">Whirlpool</a></i> (Preminger)</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Far Side of Paradise: <i><a href="http://letterboxd.com/labuzamovies/film/papillon/" target="_blank">Papillon</a></i> (Schafner), <i><a href="http://letterboxd.com/labuzamovies/film/the-country-girl/" target="_blank">The Country Girl</a></i> (Seaton), <i><a href="http://letterboxd.com/labuzamovies/film/baby-doll/" target="_blank">Baby Doll</a></i> (Kazan)</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Contemporary Stuff: <i><a href="http://letterboxd.com/labuzamovies/film/abuse-of-weakness/" target="_blank">Abuse of Weakness</a></i> (Brelliat)</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Marxism: <i><a href="http://letterboxd.com/labuzamovies/film/class-relations/" target="_blank">Class Relations</a></i> (Straub/Huillet)</span>Peter Labuzahttp://www.blogger.com/profile/09057154332391743369noreply@blogger.com0tag:blogger.com,1999:blog-11148440.post-3044202251768100942014-11-26T23:31:00.000-05:002014-11-26T23:32:52.649-05:00Bleeding Fruits<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Trebuchet MS, sans-serif; font-size: small;"><i>The Color of Pomegranates </i>(Sergei Parajanov, USSR, 1968) /<i>Go</i></span><i style="font-family: 'Trebuchet MS', sans-serif;">odbye to Language</i><span style="font-family: 'Trebuchet MS', sans-serif;"> (Jean-Luc Godard, Switzerland/France, 2014)</span>Peter Labuzahttp://www.blogger.com/profile/09057154332391743369noreply@blogger.com2tag:blogger.com,1999:blog-11148440.post-69977630767015040332014-10-31T12:26:00.001-04:002014-11-03T01:20:38.825-05:00Milkyway Goes America: John Wick<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Trebuchet MS, sans-serif;">"In Hollywood films, repetitions of situations or lines of dialogue tend to measure an arc of progress or degree of development. Art cinema tends to use repetition to establish mundane routine, to suggest psychological states eddying underneath behavior, and to create symbolic parallels. Wong Kar-wai’s repetitions often fulfill these functions. With To and Wai, repetition is used as an almost mechanical device, rhyming characters, bits of business, and settings in ways that suggest a closed world ruled by rather narrow laws [...] The tendency toward mechanical, somewhat absurd repetition of action, tics, and props goes along with another method for tightening the plot. To and Wai turn from the Hong Kong episodic norm by creating more intricate chains of action than other local filmmakers attempt. But instead of relying on character development, they devise schemes—plans, usually devious, that central characters put into motion. In To’s plots,characters plot."</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">—David Bordwell, <i>Planet Hong Kong 2.0</i></span><br />
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<span style="font-family: Trebuchet MS, sans-serif;"><i>John Wick</i>, a Keanu Reeves-starring revenge thriller developed by Chris Stahleski and David Leitch (responsible for 2012's <i>The Package</i>), features only two scenes of elongated <i>fabula</i>, where a character explains motivations, backgrounds, or other details that usually create the theme of a film. While I doubt if <i>Wick</i>'s screenwriter Derek Kolstad has even heard of Milkyway Image (he cites <i>The Raid</i> in an interview), the film's screenplay can't help by recall Johnnie To's motto to "leave blank spaces" (liú kōng) and have audiences fill in the edges of the minimal exposition. While the simplicity of the plot (a standard revenge tale, which sadly involves the death of a poor puppy) is miles behi</span><span style="font-family: 'Trebuchet MS', sans-serif;">nd the complexity of To and producer Wai Ka Fai, <i>John Wick</i> doesn't follow the rules of the way Hollywood <i>tells</i> it, and instead relies on <i>inference</i></span><i style="font-family: 'Trebuchet MS', sans-serif;">.</i><br />
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<span style="font-family: Trebuchet MS, sans-serif;">I understand why <a href="http://filmmakermagazine.com/88147-they-shouldnt-have-killed-his-dog-john-wick/#.VFMlQvTF_9I" target="_blank">my colleague Vadim Rizov</a> could see the various schemas built by Kolstad's screenplay to be in service of some cinematic building universe scheme in the Marvel, but the construction of the dialogue never emphasizes these points: no character ever explains what a gold coin is nor the "dinner reservations" hot line. Or it is better to say, these narrative events only make sense as plot elements <i>as they are happening</i> <i>in the moment</i>. The relationship between Reeves and Willem Dafoe's hit men follows a similar schema: their background is left ambiguous, and Dafoe's motivations via his two "helping hands" only make sense via an inference pattern based on previous information. Additionally, the latter of these two scenes works as both narrative surprise and payoff as built on the previous scene—there is no set up or even hint of a set up. When Dafoe later returns in a scene with Main Baddie Michael Nyquist, there is never any forced explanation of how Nyquist jumped from Assumption A to Conclusion B. </span><span style="font-family: 'Trebuchet MS', sans-serif;">This isn't completely in the realm of Milkeyway Image's even more didactic elliptical storytelling</span><span style="font-family: 'Trebuchet MS', sans-serif;">, but it's getting closer to a terse style of dialogue that minimizes any forced exposition.</span><br />
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<i style="font-family: 'Trebuchet MS', sans-serif;">John Wick</i><span style="font-family: Trebuchet MS, sans-serif;">, however, is primarily an action film, and thus has been rightfully praised for the film's intensely choreographed and brutally graphic violence. As both </span><a href="http://www.chicagoreader.com/Bleader/archives/2014/10/24/the-stunt-coordinators-are-the-real-stars-of-john-wick-the-new-keanu-reeves-vehicle" style="font-family: 'Trebuchet MS', sans-serif;" target="_blank">Ben Sachs</a><span style="font-family: Trebuchet MS, sans-serif;"> and </span><a href="http://www.villagevoice.com/2014-10-29/film/john-wick-violence/" style="font-family: 'Trebuchet MS', sans-serif;" target="_blank">Stephanie Zacharek</a><span style="font-family: Trebuchet MS, sans-serif;"> have eloquently elucidated, the action sequences rely on a series of steady long takes in carefully choreographed minimalist spaces (not abstract, but clear lines, backgrounds, and diagonals) with enough distance by the camera to capture the movements while never diluting their visceral impact. But there's more to </span><i style="font-family: 'Trebuchet MS', sans-serif;">Wick</i><span style="font-family: 'Trebuchet MS', sans-serif;">, however, and it isn't that the film build some relationship to ballet as many action films are now compared to. In fact, what makes the film both brutal but also stunning is the specificity to the sequences. </span><i style="font-family: 'Trebuchet MS', sans-serif;">Wick</i><span style="font-family: Trebuchet MS, sans-serif;"> treats each bullet like a part of the physical matter. Men aren't just shot—they are hit in the arm, a leg, or a head. Reeves actually holds and aims a gun, so that there is a clear visual eye-line created between the aim of the weapon and the eventual entry point of every bullet, and most random baddies require multiple shots in a variation of bodily locales to actually sedate them. And then there's the reloading, which is constantly happening throughout the film, even made into one of the film's funniest jokes during the Red Circle sequence. <i>John Wick</i> thus slowly plays between its more expressionist functions—lush, saturated colors that reflect into the film's over-accentuated drama—and its realist attitude of relating each body on screen to a physical presence, while also implementing the film's coded language to avoid any forced awareness of the narrative schemas at play.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">This is all to say, </span><i style="font-family: 'Trebuchet MS', sans-serif;">John Wick</i><span style="font-family: 'Trebuchet MS', sans-serif;"> treats violence in a way different from To's movies and instead via the same way the titular protagonist does so: violence is violece, which is both an amoral and essential act.</span>Peter Labuzahttp://www.blogger.com/profile/09057154332391743369noreply@blogger.com0tag:blogger.com,1999:blog-11148440.post-76123958375761769452014-10-14T01:59:00.000-04:002014-10-14T11:04:28.455-04:00Images of the Day 10/13/2014<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpXymJ08swjCY3jxhNhHfAE3hIkQMwgc67H34DjKqfJF73j5k3Y_RK3tknhAOo_JkCaXXIX1KbQijaArtANoBJTatrQhQ6SP5vxICgAE3LQvVAyFdHPtKblBMnCt3G62nh0sa91w/s1600/norman_rockwell_dinner.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpXymJ08swjCY3jxhNhHfAE3hIkQMwgc67H34DjKqfJF73j5k3Y_RK3tknhAOo_JkCaXXIX1KbQijaArtANoBJTatrQhQ6SP5vxICgAE3LQvVAyFdHPtKblBMnCt3G62nh0sa91w/s400/norman_rockwell_dinner.jpg" /></span></a></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Norman Rockwell, <i>Freedom From Want</i>, USA, 1942</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBDZfkhgPGVQSXPc0X_nO8C03dV-Tb8GVgELMwNgi_y2VRWrLK-ezj8CialxEO-NQ6TRbEwOkBKkrl5Uy9btLe-oDIrlVRe7Whj8a5CVIM6hkHLZwfqdIsVqioOlWZuGsk-Bn0hw/s1600/Screen+shot+2014-10-13+at+10.46.37+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBDZfkhgPGVQSXPc0X_nO8C03dV-Tb8GVgELMwNgi_y2VRWrLK-ezj8CialxEO-NQ6TRbEwOkBKkrl5Uy9btLe-oDIrlVRe7Whj8a5CVIM6hkHLZwfqdIsVqioOlWZuGsk-Bn0hw/s400/Screen+shot+2014-10-13+at+10.46.37+PM.png" /></span></a></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Tobe Hooper, <i>The Texas Chainsaw Massacre</i>, USA, 1974</span></div>
Peter Labuzahttp://www.blogger.com/profile/09057154332391743369noreply@blogger.com0tag:blogger.com,1999:blog-11148440.post-47462116817341870382014-10-13T12:44:00.001-04:002014-10-15T14:13:00.048-04:00The End Is Here! "Approaching The End" Now In Stores<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9SdEPk9KCa93GkQ45exsSstFzeiqshbzY4BVYNwTgHRp4UQqaPgiP4pHQgmEL-2NQ7-BrgsaixcnYS7wcpum2spfKIsTurJSWOiWo-cvmhOKbaDSuTO6fYL7uJ9fhy24xJ_LJuA/s1600/strange_days_ralph_fiennes_kathryn_bigelow_007_jpg_fcqa.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9SdEPk9KCa93GkQ45exsSstFzeiqshbzY4BVYNwTgHRp4UQqaPgiP4pHQgmEL-2NQ7-BrgsaixcnYS7wcpum2spfKIsTurJSWOiWo-cvmhOKbaDSuTO6fYL7uJ9fhy24xJ_LJuA/s1600/strange_days_ralph_fiennes_kathryn_bigelow_007_jpg_fcqa.jpg" height="263" width="400" /></span></a></div>
<span style="font-family: Trebuchet MS, sans-serif;">This week sees the release of <i>Approaching The End: Imagining Apocalypse In American Film</i>, better known as my book. I couldn't be more excited to share this essentially three-year-in-the-works project with you. First things first: <b><a href="http://bit.ly/O8CiPM" target="_blank">you can buy the book right now here from the website!</a> </b>Please put in an order!</span><br />
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Need to be convinced? How about an excerpt. <a href="http://bit.ly/1CS8Xhm" target="_blank">Read part of the section I wrote about John Carpenter's awesome Reagan-era satire <i>They Live</i></a>, and why living in doom is the best option possible.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">How about <i>another </i>excerpt? <a href="http://bit.ly/1ruWWGb" target="_blank">Over at RogerEbert.Com, I go backwards in time to examine how <i>Days of Heaven</i> turns noir's urban anxiety into a universal one</a>.</span><br />
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How about something more contemporary? <a href="http://bit.ly/1s9GEpO" target="_blank">I wrote about the Liam Neeson thriller <i>A Walk Among The Tombstones</i></a>, which turns out to be the best apocalyptic movie of the year</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">How about a review of the book? <a href="http://vknid.com/2014/09/22/stretching-apocalypse-approaching-end-peter-labuza/" target="_blank">Scott Von Doviak writes</a>, "Idiosyncratic choices make for engaging film criticism, and Labuza’s arguments are generally persuasive."</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">How about a video essay? Here's <a href="http://bit.ly/1CfO65j" target="_blank">a new video essay on re-thinking film noir</a>, written and narrated by yours truly and edited together by Jason Elrod!</span><br />
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<iframe allowfullscreen="" frameborder="0" height="281" mozallowfullscreen="" src="//player.vimeo.com/video/108816637" webkitallowfullscreen="" width="500"></iframe> </div>
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More to come later this week! Keep watching this space for writing, event announcements, and more!</span>Peter Labuzahttp://www.blogger.com/profile/09057154332391743369noreply@blogger.com0tag:blogger.com,1999:blog-11148440.post-57926761666547921822014-10-02T12:11:00.000-04:002014-10-04T14:43:07.625-04:00Closed For Interpretation: Lars Von Trier's Nymhomaniac<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW2tvZ8IbqwJ-XgjvX4TJgUyG2gXYWCCPlAR9yqd-V9NKCPvBPAAYCaTN4qNGbXfDj3wHSb4E1viZyL6nZ3gkT0Iqgi7rlrcqrWqIHqq_ede3KMCv8nGqBrfPEXHVeG39U6aP_Cw/s1600/hero_Nymphomaniac_14_photo_by_Christian_Geisnaes_Small.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW2tvZ8IbqwJ-XgjvX4TJgUyG2gXYWCCPlAR9yqd-V9NKCPvBPAAYCaTN4qNGbXfDj3wHSb4E1viZyL6nZ3gkT0Iqgi7rlrcqrWqIHqq_ede3KMCv8nGqBrfPEXHVeG39U6aP_Cw/s1600/hero_Nymphomaniac_14_photo_by_Christian_Geisnaes_Small.jpg" height="227" width="400" /></a></div>
<span style="font-family: Trebuchet MS, sans-serif;"><i>Lars Von Trier's </i>Nymphomaniac: Director's Cut<i> is now available on VOD, and will play select theaters. The following essay reveals the ending of the film, along with many other narrative aspects that may be considered spoilers.</i></span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Lars Von Trier has made a career out of stunts: explicit
material, crass juxtapositions between the high and low, casting of unexpected
actors, and outlandish statements. This makes Von Trier at once a nuisance in
contemporary cinema—someone who thinks he is telling the Real Truth when it’s
just a satirized form of regular ideology—and perhaps a necessity. It'd be
great if the American vision of contemporary Euro-Art cinema was, say, more
Alain Guiaurdie or Thomas Arslan, but instead we have Von Trier and Herr
Haneke, mostly because the way they directly invoke and challenge the expectations
of Hollywood cinema. In a way, they urge us to balance our diet of Hollywood
cinema with their “cultural vegetables.” Von Trier’s cinema wouldn’t exist
without someone to gasp at it.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">This is all to say, the easy reading of <i style="mso-bidi-font-style: normal;">Nymphomaniac</i>, his five and a half hour opus, would be as a
self-critical examination of the director’s own career. One could even place
each of the chapter's into the various sections of his filmography: plot points
from <i style="mso-bidi-font-style: normal;">Breaking The Waves</i>, a direct
quotation of a scene and the music from <i style="mso-bidi-font-style: normal;">Antichrist</i>;
is the scene of Joe and the African men is a play on <i style="mso-bidi-font-style: normal;">Manderlay</i>? Even Joe's discussion of Hitler and the way Seligman
misinterprets her point of evokes Von Tirer’s indiscretion at the 2011 Cannes Film
Festival.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">A better way to put <i style="mso-bidi-font-style: normal;">Nymphomaniac</i>
into context is less autobiographical than read it as a statement of artistic
principles, or a dialectic on why Von Trier makes Von Trier movies. Trailers,
advertisements, early reports focused exclusively on “how far” would Von Trier
go—and even the basic log line feels like a parody of one of his films. What
wasn't focused on was the fact that the entire film centers around the
discussions between Joe and Seligman, the artist and the critic. Like all Von
Trier films, this debate occurs between directly opposite philosophies: Joe’s nihilistic
spirituality wants to prove she has sinned, while Seligman rationalizing,
contextualizing, and normalizing each part of her behavior.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Seligman's digressions into fly-fishing, Fibonacci,
polyphony music are at once Bad Interpretation and completely reasonable
compared to Joe's insistence that her acts were truly masochistic. Shot in a
weary room in which the walls seem to be dying, the sequences are at once
decidedly slow in terms of the two actors’ soft spoken voices, but the shot
length and amount of editing is surprisingly speedy for the
Tarkovsky-influenced auteur. It’s as if word and image clash: Dreyer-esque
stillness against Dostoevskian theoretical debate. East Church Vs West, pleasure
vs. pain, male vs. female, virgin vs. whore: Von Trier chooses the biggest
targets possible to smash together.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">It's not the clash that's interesting (such as the film’s
early and tiresome Rammstein cue) but the aftermath of these. Seligman thinks
he can contain Joe’s story and deny the own artist's interpretation, while Joe
continually re-asserts, "you're not even listening." Seligman's perfected virginity in ways provides the perfect Straw Man for Von Trier's Joe,
and not in a bad way—he can't get off on the material, and thus Joe’s critic
does not even respond to the basic level in a way Von Trier sees necessary.
Like many of his “New Extremism” contemporaries (Noe, Dumont, Haneke), part of
responding to a Von Trier film is the fact that one must either feel pleasure
or pain, and it is in responding to that bodily function that one finds meaning.
This is what makes <i style="mso-bidi-font-style: normal;">Nymphomaniac</i> most
compelling—what happens when we remove the body from cinema?</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The most essential scene in this, ironically, is the
sequence only available in the complete director's cut: a lengthy abortion
sequence, <a href="http://variety.com/2014/film/opinion/with-shocking-abortion-scene-restored-nymphomaniac-makes-venice-fest-most-daring-1201301689/">described
quite thoroughly by Peter Debruge</a>. It must have been an obvious cut for the
international censors, because while most of the sex is, well, sex, this is
truly the most squeamish and offensive the film truly gets. It also thus gets
to I think what the core of <i style="mso-bidi-font-style: normal;">Nymphomaniac</i>
is really about: the importance of provocation as a narrative device. Joe's
ideas of why she wants an abortion are so morally objectionable, and the
procedure so brutal to watch (bravo to whatever digital or prosthetic work was
done here), that even Seligman has a hard time putting them into his theory. "On principle, I believe that taboos are damaging for human beings,"
Joe demands.</span></div>
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<span style="font-family: 'Trebuchet MS', sans-serif;">What you can say about Joe's abortion rhetoric, her demand
to use the word "negro" to explain the aforementioned </span><i style="font-family: 'Trebuchet MS', sans-serif;">ménage à trois</i><span style="font-family: 'Trebuchet MS', sans-serif;">, or her sympathy for
pedophiles, is not that one must agree with it, but it is Von Trier laying his
cards plainly with an explanation. Do we need one? There's another version of </span><i style="font-family: 'Trebuchet MS', sans-serif;">Nymphomaniac</i><span style="font-family: 'Trebuchet MS', sans-serif;">
without Joe and Seligman's debates, a film which simply tracks Joe from her
erotic becoming at age 2 all the way through thousands of men before being
pissed on by her adoptive daughter-cum-sexual-replacement. And what would be
the meaning of that story? Certainly not the interpretation given by Seligman near the end as a proto-feminist tale, nor Joe's interpretation as a moral
failing that leads to an attempt to purify herself and reach some idealistic
goal of transcendence. Von Trier knows that such lofty goals, read into his
films or general, are silly affairs, and so </span><i style="font-family: 'Trebuchet MS', sans-serif;">Nymphomaniac</i><span style="font-family: 'Trebuchet MS', sans-serif;"> ends with the
follies of both man and woman, Joe and Seligman recant their ideas. It's the final
pun on an elongated joke–not the </span><i style="font-family: 'Trebuchet MS', sans-serif;">eros</i><span style="font-family: 'Trebuchet MS', sans-serif;"> of Scheherazade and the king, nor
the jovial return of </span><i style="font-family: 'Trebuchet MS', sans-serif;">The Decameron</i><span style="font-family: 'Trebuchet MS', sans-serif;">,
but a final trolling in case you were also “not listening carefully</span><span style="font-family: 'Trebuchet MS', sans-serif;">.” </span><i style="font-family: 'Trebuchet MS', sans-serif;">Nymphomaniac</i><span style="font-family: 'Trebuchet MS', sans-serif;">
must end with a bang. Von Trier isn't here to reconcile his points of view with
a more rational form of society, only to state their necessity to exist and
clash. If Von Trier didn’t exist, cinema would have to invent him.</span></div>
Peter Labuzahttp://www.blogger.com/profile/09057154332391743369noreply@blogger.com1tag:blogger.com,1999:blog-11148440.post-37698742391770958672014-09-29T14:30:00.001-04:002014-09-29T14:30:25.843-04:00Notes Toward A "Late" Soderbergh<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp-sVZnBphyphenhyphenXZUn3dgT_CpOFbL4K8ypQLX9r_7X87BdKeHfYC8tMmt-F0RjoOn_LyWleuTgRNDqoc-hd0gF3QO7qPCQJcGJ4j9B5PpD7XMIEov-fpUhmDDVGjr31TkOQFjz2Tmbw/s1600/Magic+Mike.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp-sVZnBphyphenhyphenXZUn3dgT_CpOFbL4K8ypQLX9r_7X87BdKeHfYC8tMmt-F0RjoOn_LyWleuTgRNDqoc-hd0gF3QO7qPCQJcGJ4j9B5PpD7XMIEov-fpUhmDDVGjr31TkOQFjz2Tmbw/s1600/Magic+Mike.png" height="167" width="400" /></a></div>
<span style="font-family: Trebuchet MS, sans-serif;"><i>I have an upcoming piece on Steven Soderbergh's </i>The Knick<i>, his fantastic medical drama now showing on Cinemax. While writing it, I revisited a piece I began over a year ago on what I called the "Late Soderbergh" period (a poor name in hindsight), covering an era beginning with </i>The Girlfriend Experience <i>and assumably ending with </i>Behind The Candelabra<i>. It was a wild and ridiculous essay, trying to cover way too much ground with flimsy cohesion. I eventually abandoned it. Revisiting the 10,000 word document, however, I found some insights that helped me contextualize </i>The Knick<i> as well as my own thoughts on how Soderbergh evolved in this era. What follows are some excerpts from that, which I found still managed to make sense, and hopefully have some use.</i></span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Young and naive Adam (Alex Pettyfer) sits on a couch, pumped
up from adrenaline from the experience he just had. On a complete whim, he has
does stripped down to almost his bare ass for a loud of screaming young women.
He was awkward and a bit silly, unsure of what to do, which made his so-called
“performance” all the more exciting for the crowd. He sits on a couch while the
rest of his now-colleagues celebrate and joke around for another successful
night. Still dressed in only underwear, dollars are flowing out of his pants,
as if his cock was spewing it. His body has a value, and we can see it right
there.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">How does one make a film about a digital economy, about a
series of abstract relations that do not exist? Soderbergh’s Body Capital
trilogy does not even try and make a film about how we can see and experience
digital abstraction, but instead turns toward the physical—the body. His three
films—<i style="mso-bidi-font-style: normal;">The Girlfriend Experience</i>, <i style="mso-bidi-font-style: normal;">Haywire</i>, and <i style="mso-bidi-font-style: normal;">Magic Mike</i>—speak directly a series of characters who use and
exploit their own physical attributes for capital gain, and the toil it takes
on their bodies and psychology.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Chris cannot actually change the physical bodies of his clients;
his job is only to give the <i style="mso-bidi-font-style: normal;">confidence</i>
of doing so—they must change their bodies themselves. Soderbergh juxtaposes
Chris’s sessions with Chelsea’s dates, as his supposed “friendships” are just
as artificial as Chelsea’s dates.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The film’s narration is one of its crucial links—we see the
appointments and feel the emotions that might be present, but then Chelsea
reduces these interactions down to essential data points (“I wore a black
cashmere sweater…he talked the entire time. We didn’t have sex.”).</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Everything is a business transaction—the film both opens and
ends with clients telling Chelsea to invest in gold, a tangible reality that
gives clients something to hold onto, which is the film’s final image—two
bodies embracing something physical, not actual reality, but the tangible
qualities of being alive.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The world seems to be a daze of beach parties, amusement
parks, jumping off bridges, and the daily rituals of audience titillation, but
Soderbergh’s frames have a disinterested look to them, viewing it all as
“passing time.” When Mike is asked about his furniture business, he claims,
“The market hasn’t really hit the sweet spot yet” biding his time (one of the film’s
many wonderful details—a logo for Mike’s Mobile Detailing lines his truck,
another dream deferred).</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">The film’s plot is at one point repeated as a series of data
points of names and locations by Mallory’s one-man audience whom she takes
hostage to start the film: “Jamie, Victor, Rodrigo…Barcelona…” “Hostage name”
“Jang.” At one point, <i style="mso-bidi-font-style: normal;">Haywire</i> is the
kind of stripped down action film uninterested in particulars and their
connections to each other, but at another, it almost sees this all as “just
business.”</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">When Fassbender's Paul claims he’s never had to kill a
woman, Kenneth retorts, “Oh, you shouldn't think of her as being a woman. No,
that would be a mistake.” The tactile qualities of gender only matter in
certain parts of <i style="mso-bidi-font-style: normal;">Haywire</i>, only as a
valuable asset. Mallory protests to the Dublin mission of simply being “eye
candy,” which is the only reason to even cast her in that role. While <i style="mso-bidi-font-style: normal;">The Girlfriend Experience</i> emphasizes
gender, <i style="mso-bidi-font-style: normal;">Magic Mike</i> and <i style="mso-bidi-font-style: normal;">Haywire</i> subvert their naturally
singularized professions to other genders, once again exposing this
relationship between the performative nature of the body and the monetary value
that can be derived from those physical actions.</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmlhWyrf8t_jtafkL93rGF7BDUOrJPsVQIKBsNdfgnHO4sXN5AH_rSLplLK00zkvURqetGv1zfKAjK6AZ43cYyMW2vELuR-ykFAN2PV6Eh7NaqtXekjwDY9MMnq4TmStvwO9oJrQ/s1600/Side+Effects.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmlhWyrf8t_jtafkL93rGF7BDUOrJPsVQIKBsNdfgnHO4sXN5AH_rSLplLK00zkvURqetGv1zfKAjK6AZ43cYyMW2vELuR-ykFAN2PV6Eh7NaqtXekjwDY9MMnq4TmStvwO9oJrQ/s1600/Side+Effects.png" height="171" width="320" /></a></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">His films view the image as a static realm—a pure moment. Just
look at his colors: the blue hues the hollow the spaceship in <i style="mso-bidi-font-style: normal;">Solaris</i>, the heated, saturated yellows
that define Tampa in <i style="mso-bidi-font-style: normal;">Magic Mike</i>. The
bodies of his characters seems to exist somewhere between space and not
space—foregrounds and backgrounds are flattened, so characters move through
less of a reality than an environment.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">The whole scandal and the character seems so silly and minor
you begin to wonder <i style="mso-bidi-font-style: normal;">why the hell is
Soderbergh making this movie?</i>, as funny as some of his misadventures are.
But then you begin to notice details in the voiceover. Why is Whitacare going
on about the secret trade skills of polar bears or the number of syllables for
words in the German language? There’s so much information—<i style="mso-bidi-font-style: normal;">a deluge of data</i>—that we aren’t able to process what it all really
means.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">Like his other two films with Burns, the windows in <i style="mso-bidi-font-style: normal;">The Informant!</i> are almost blindingly
white, as if nothing exists beyond the space the image has framed.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">Soderbergh has been unfairly described as unemotional
director, but that description fits <i style="mso-bidi-font-style: normal;">Contagion</i>’s
clinical edge: the film is always teetering between its own obsessed paranoia
and the rationality needed to combat it. When Kate Winslet realizes she herself
has the virus and is going to die, she doesn’t panic. She calls the hotel staff
and tells them all they need to do to prepare the rest of the soon-to-be dead.
Soderbergh shoots the entire sequence in long shots with an intensely blue
palette and rough hard edges. We finally get a close-up as Winslet’s dead body
is taken in, the flakes of her skin falling off her body. There’s nothing
pretty or sympathetic about it.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">For 45 minutes, Soderbergh and Burns put us in the
predicament of Emily—a girl who just wants to be normal, but is assaulted
throughout by the language and rhetoric of the businesses of psychiatry and
pharmaceuticals. Her hair slowly loses its color, and more than any other film,
Soderbergh completely isolates the visual space of her character into a flat
reality of which she can’t escape. References to Polanski, Hitchcock, and
Michael Powell’s <i style="mso-bidi-font-style: normal;">Peeping Tom</i> make us
deeply sympathetic to the plight of a girl in a system that constantly tries to
fix her—Banks’s motto is that Americans go to psychiatrists “to get better.”</span></div>
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<i style="font-family: 'Trebuchet MS', sans-serif;"><br /></i></div>
<div class="MsoNormal">
<i style="font-family: 'Trebuchet MS', sans-serif;">Side Effects</i><span style="font-family: 'Trebuchet MS', sans-serif;">
exists in a 21</span><sup style="font-family: 'Trebuchet MS', sans-serif;">st</sup><span style="font-family: 'Trebuchet MS', sans-serif;"> century landscape where it’s not about the mystery,
but putting the elements in the right order. Burns’s plots are almost
reflective of Wikipedia articles—there’s too much information, too many
details, and it’s all unstructured till its too late. We never realize that
we’re just buying into the narratives we’re being told to buy into.</span></div>
Peter Labuzahttp://www.blogger.com/profile/09057154332391743369noreply@blogger.com0tag:blogger.com,1999:blog-11148440.post-44150149968526640872014-09-08T22:04:00.001-04:002014-09-08T22:04:34.881-04:00Link Round-Up: Sunny Pastures<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj345LIsFm4g2IaNYUc_LoEBDvl3xcdNj5vEUfnZBCpwLf1BJoxtbwRQggZThVk7NZSAvr44VhnRB-_bV3RLckvEhjkJNkcr-8maukG1iTj6UGH7KgRpmlHn-hnVj0aioHEyyQUw/s1600/pickpocket-1959-01-g.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj345LIsFm4g2IaNYUc_LoEBDvl3xcdNj5vEUfnZBCpwLf1BJoxtbwRQggZThVk7NZSAvr44VhnRB-_bV3RLckvEhjkJNkcr-8maukG1iTj6UGH7KgRpmlHn-hnVj0aioHEyyQUw/s1600/pickpocket-1959-01-g.jpg" height="255" width="400" /></a></div>
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">A brief summary of recent work...and as noted before, I am now located in Los Angeles! If you are here too and would like to meet up, shoot me an email sometime!</span><br />
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><br /></span>
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">The Toronto Film Festival is well underway, and I am sadly not there. Luckily I was at Cannes, <a href="http://www.labuzamovies.com/2014/06/link-round-up-post-cannes-pre-apocalypse.html" target="_blank">so my coverage of that</a> covers many of the major titles. I did write about two Locarno premiers, however: Matias Pineiro's <i><a href="http://bit.ly/1uF7oPb" target="_blank">The Princess of France</a></i>, a beguilingly wonderful chapter in his continuing Shakespeare series (I wrote about <a href="http://bit.ly/12H1f61" target="_blank">Pineiro's other films here</a>). And <i><a href="http://bit.ly/1wefAH0" target="_blank">Songs From The North</a></i>, an interesting if limited essay film from Soon-Mi Yoo examining life in North Korea.</span><br />
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><br /></span>
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><a href="http://bit.ly/1ySpjm6" target="_blank"><i>Approaching The End</i>, my first book</a>, is now available for pre-order. BUY BUY BUY! (You can also buy off Amazon, but it'll ship slower <i>and</i> for what its worth, the giant corporation inhales over half the profits. I note this not for my own royalties, which don't change, but the press is blooming and could use your help!)</span><br />
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><br /></span>
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">For its new Criterion Blu-Ray, I wrote about <a href="http://bit.ly/1qYnlxO" target="_blank">Bresson's <i>Pickpocket</i></a> and its more technical aspects, attempting to put it in conversation with Warners Gangster films and less with ideas of "transcendent" cinema.</span><br />
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><br /></span>
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">Three more episodes of <i>The Cinephiliacs</i>, and all fantastic ones: Former <i>Chicago Reader</i> critic and <a href="http://bit.ly/X1xilb" target="_blank">MoMA curator Dave Kehr</a> on Columbia crime films and <i>The Whistler</i> series, critic and <a href="http://bit.ly/1oVpEmL" target="_blank"><i>Double Play</i> director Gabe Klinger</a> on Raoul Walsh's <i>The Bowery</i>, and <a href="http://bit.ly/1vdT97n" target="_blank"><i>Village Voice</i> critic Stephanie Zacherek</a> on The Dave Clark Five in John Boorman's <i>Having A Wild Weekend</i>.</span><br />
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><br /></span>
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">New Letterboxd Updates:, </span><br />
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">The Contemporary Cinema: <i><a href="http://letterboxd.com/labuzamovies/film/boyhood/1/" target="_blank">Boyhood</a></i> (Linklater), <i><a href="http://letterboxd.com/labuzamovies/film/lucy-2014/" target="_blank">Lucy</a> </i>(Besson), <i><a href="http://letterboxd.com/labuzamovies/film/ida/" target="_blank">Ida</a></i> (Pawlikowski), <i><a href="http://letterboxd.com/labuzamovies/film/venus-in-fur/" target="_blank">Venus In Fur</a></i> (Polanski), <i><a href="http://letterboxd.com/labuzamovies/film/22-jump-street/" target="_blank">22 Jump Street</a></i> (Lord/Miller), <i><a href="http://letterboxd.com/labuzamovies/film/policeman/" target="_blank">Policeman</a></i> (Lapid)</span><br />
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">The Canonical Cinema: <i><a href="http://letterboxd.com/labuzamovies/film/2001-a-space-odyssey/" target="_blank">2001: A Space Odyssey</a></i> (Kubrick), <i><a href="http://letterboxd.com/labuzamovies/film/the-abyss/" target="_blank">The Abyss</a></i> (Cameron)</span><br />
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">The Silent Cinema: <i><a href="http://letterboxd.com/labuzamovies/film/why-be-good/" target="_blank">Why Be Good?</a></i>, <i><a href="http://letterboxd.com/labuzamovies/film/the-eternal-grind/" target="_blank">The Eternal Grind</a></i>, <i><a href="http://letterboxd.com/labuzamovies/film/travelin-on/" target="_blank">Travelin' On</a>, <a href="http://letterboxd.com/labuzamovies/film/lilac-time/" target="_blank">Lilac Time</a></i></span><br />
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">Orson Welles!: <i><a href="http://letterboxd.com/labuzamovies/film/too-much-johnson/" target="_blank">Too Much Johnson</a></i></span><br />
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">Auteurist Cinema: </span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><i><a href="http://letterboxd.com/labuzamovies/film/our-man-in-havana/" target="_blank">Our Man In Havana</a></i></span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"> (Reed), </span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><i><a href="http://letterboxd.com/labuzamovies/film/eva-1962/" target="_blank">Eva</a></i></span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"> (Losey), <i><a href="http://letterboxd.com/labuzamovies/film/nothing-sacred/" target="_blank">Nothing Sacred</a> </i>(Wellman), <i><a href="http://letterboxd.com/labuzamovies/film/escape-in-the-fog/" target="_blank">Escape in the Fog</a></i> (Boetticher), <i><a href="http://letterboxd.com/labuzamovies/film/panelstory-or-birth-of-a-community/" target="_blank">Panelstory</a></i> (Chytilová), <i><a href="http://letterboxd.com/labuzamovies/film/niagara/" target="_blank">Niagara</a></i> (Hathaway), <i><a href="http://letterboxd.com/labuzamovies/film/crooklyn/" target="_blank">Crooklyn</a></i> (Lee), <i><a href="http://letterboxd.com/labuzamovies/film/tale-of-cinema/" target="_blank">Tale of Cinema</a></i> (Hong)</span>Peter Labuzahttp://www.blogger.com/profile/09057154332391743369noreply@blogger.com0tag:blogger.com,1999:blog-11148440.post-26523433142790911662014-07-22T10:22:00.002-04:002014-07-22T18:53:06.142-04:00The Art of Oneself — Michael Bay's Transformers: Age of Extinction<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhowjmPGnjepzsKnYotwd-iVem_Xsfw7P1tDiSBXHqnDkToXylMK7hpIWJDYKZMRcY1y3Fwmt0iItzlBxsh1QSBobZK1a5c2h6ejjwIljrMiTf47XknnXZdLj5mR2aAxF9KJXCiew/s1600/transformers-age-of-extinction-30825-2880x1800.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhowjmPGnjepzsKnYotwd-iVem_Xsfw7P1tDiSBXHqnDkToXylMK7hpIWJDYKZMRcY1y3Fwmt0iItzlBxsh1QSBobZK1a5c2h6ejjwIljrMiTf47XknnXZdLj5mR2aAxF9KJXCiew/s1600/transformers-age-of-extinction-30825-2880x1800.jpg" height="250" width="400" /></span></a></div>
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">In many ways, the <i>Transformers</i> movies have always been somewhat plagued by a weird quasi-meshing of Spileberg's penchant boy-growing-up-among-the-awe narratives with Michael Bay's own crass maximalism (a meaningless word, but how else to describe what's on screen). <i>Age of Extinction</i> eliminates the main component of the former director's hand - Shia Labeouf's alienating and always too smug every-boy - in favor of Marky Mark Wahlberg, who mutates into whatever he needs to be from scene to scene (techie, overly concerned parent, football star, machine gun expert). It's a good metaphor for the film itself, which struck me as a work completely outside of its own interest as a film made by a studio for entertainment. Instead, it morphs into a parade of advertisement for each of its backers — Hasboro, Victoria's Secret, Chevrolet, and Budweiser (not to mention numerous Chinese sponsors I didn't recognize). The last of those companies comes up in a scene so crassly made that you could snip that 30 seconds from the film and it could have easily been a spot during the Super Bowl. A colleague of mine once posited that movie theaters are slowly morphing into the mall—a space for people to hang out more than experience film, and this film certainly made that experience seem like less a warning of doom than a proposition of truth. Goodbye Cinema, Hello Capitalism 2.0.</span><br />
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<br />
<a name='more'></a><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><i>Age of Extinction</i> wants to be a bit of everything, a type of <a href="http://www.tandfonline.com/doi/abs/10.1080/17400309.2011.585854" target="_blank">Access For All narrative</a> that is common for Hollywood, but feels more paradoxical under Bay's lens: Pro-American, Anti-Government, Anti- <i>and</i> Pro-Business, Anti-Drones, Pro-Women via a lens of misogyny (Who carries a laminated card with a statute?), and most importantly Pro-China. Bay claims that it was completely his decision to shoot in the East (as seen in <a href="http://thefilmstage.com/news/transformers-the-premake-examines-the-hype-machine-of-modern-day-hollywood/" target="_blank">Kevin B. Lee's <i>Premake</i></a>), but I can't imagine him molding a film that sees the American government completely as buffoons and then also include a scene where the Chinese Defense Minister confidently declares they will do everything they can to protect Hong Kong. Bay's subjugation and crass bowing to his financiers is likely a lack of skill than some Brechtian effect, but I found it all kind of exciting to watch the Franken-birth of a new type of Blockbuster. In a way, I kind of prefer looking at Bay's films and knowing exactly where my money is going and what is expected of me as an audience member; it's like wearing the <i>They Live</i> glasses.</span><br />
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><br />
Within all of this horrifying consumerism, there is also the Art Of Bay—equal parts disturbing and fascinating, or perhaps just fascinating in the disturbing "soul" (just like the Transformers!) that it reveals. Every shot of Nicola Peltz's ass in Texas is like some honry man's version of <i>Days of Heaven</i>. A comic relief character is blown into an acidic and grotesque statue and circled around in four shots like he's as beautiful as the Statue of David. "I'm asking you to look at the junk and see the treasure," Wahlberg's protagonist proclaims, but what separates Bay's compositions from a Tony Scott (or an Joseph H. Lewis and Edgar G. Ulmer) is that his art is the art of sadism. He may truly delight in a morality so despicable, but he's also a filmmaker who so thoroughly reveals his own Interior Meaning; watching his films is like the temptation to stare at the sun. </span><br />
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And yet, there is a physical component to watching Bay. There's a scene with a bunch of Transformers jump all around Monument Valley (and earlier, a poster for Hawks's <i>El Dorado</i>!); what's astonishing to watch is how each little jump brushes up little specks of rock and dust throughout, each moving with total respect to the physical universe these CGI creates are visiting. The integration of Bay's physical elements and his digital effects is astonishing, especially given the amount of dirt, rock, glass, concrete, and other material that makes up any given frame of his film. There's particularly a shot of the camera gliding toward a boat in an early action scene as marines are about to raid a Transformer where I noticed how many separate elements the camera was catching without feeling overwhelming. As others have noted, 3D has slowed his camera down, and he's almost exclusively broken from any sense of chaos cinema to downright classical continuity - the spaceship chase through Chicago might be a new standard in terms of three dimensional spatial continuity. Additionally, a final climax involving hundreds of physical moving objects floating up and down as the digital effects ask them to defy gravity is the work of each shot thoroughly investigating each part of the frame—no pixel left unturned. There's simply a detail to Bay that eludes the grand gesture filmmaking in other blockbusters I've indulged this year, where things move cleanly but rarely with a reverence to the potential of cinema to capture something authentic, even if it's in a world of CGI alien robots. Bigger is not necessarily better, but the further away Bay travels from humans and closer to the vision of maximalism, the simulacra suddenly turns tactile—it <i>feels</i> real, which in the spectatorial position of cinema, is close enough to saying it is real. </span><br />
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><br />
Bay's a scattershot fuck up, but he's <i>our</i> scattershot fuck up, and no one can best the filmmaker at his own game. He has perfected the art of himself.</span>Peter Labuzahttp://www.blogger.com/profile/09057154332391743369noreply@blogger.com1tag:blogger.com,1999:blog-11148440.post-28648420681206352672014-07-03T15:05:00.000-04:002014-07-03T15:05:59.986-04:00Link Round-Up: Summer Blues<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXR-Ktax8BWX80DBlLd4MAAqxY79uTabcqpcRTJWSyaLzHgkxbLGxF0jT_4iqv8X4YUCRGRwKPbWMNGPyjkI25Cxc97DH_R-2PJV67lN1J4pTTf05-yS12m5Osdj6TP-c-GmV5qg/s1600/Screen-Shot-2014-06-24-at-1.44.32-PM-640x433.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXR-Ktax8BWX80DBlLd4MAAqxY79uTabcqpcRTJWSyaLzHgkxbLGxF0jT_4iqv8X4YUCRGRwKPbWMNGPyjkI25Cxc97DH_R-2PJV67lN1J4pTTf05-yS12m5Osdj6TP-c-GmV5qg/s1600/Screen-Shot-2014-06-24-at-1.44.32-PM-640x433.jpg" height="270" width="400" /></a></div>
<span style="font-family: "Trebuchet MS",sans-serif;">If you look to the left, you can see the cover of my book. And soon enough, you can buy it! Neato!</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">My friend Kevin B. Lee, who came on the podcast in January of last year, has released his most ambitious video essay yet, entitled <i>Transformers: The Premake</i>. <a href="http://bit.ly/1lA9Rba" target="_blank">I discussed this work at <i>The Film Stage</i></a>. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">I also reviewed two more Blu-Rays for <i>The Film Stage</i> and tried to put them in conversation with each other: <a href="http://bit.ly/Tgpols" target="_blank">Antonioni's <i>L'Eclisse</i> and Kiarostami's <i>Like Someone In Love</i></a>. Both are wonderful and the transfers look fantastic.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">A surprisingly decent transfer would also be the new DCP of Eric Rohmer's <i>A Summer's Tale</i>, which is finally receiving a theatrical release in the United States. It's my favorite movie of the year, <a href="http://bit.ly/UUZLby" target="_blank">and I explain why over here</a>. I also review a so-called "new release" movie, Clint Eastwood's beguiling and somewhat wondrous <a href="http://bit.ly/1qNIL1y" target="_blank"><i>Jersey Boys</i></a>. </span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">On <i>The Cinephiliacs</i>, <a href="http://bit.ly/1m1kYdl" target="_blank">Adam Nayman joins the show</a> to talk about his book about <i>Showgirls</i> entitled <i>It Doesn't Suck</i>, and we also discuss Mia Hansen-Love's debut feature, <i>All Is Forgiven</i>. He also tears Jason Reitman to shreds. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">Over on Letterboxd...</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">New films! Nadiv Lapid's <a href="http://letterboxd.com/labuzamovies/film/policeman/" target="_blank"><i>Policeman</i></a> and Lord and Miller's <a href="http://letterboxd.com/labuzamovies/film/22-jump-street/" target="_blank"><i>22 Jump Street</i></a></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">War documentaries! William Wyler's <a href="http://letterboxd.com/labuzamovies/film/the-memphis-belle-a-story-of-a-flying-fortress/" target="_blank"><i>Memphis Belle</i></a> and John Huston's <a href="http://letterboxd.com/labuzamovies/film/the-battle-of-san-pietro/" target="_blank"><i>San Pietro</i></a></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">From Asia! King Hu's <a href="http://letterboxd.com/labuzamovies/film/a-touch-of-zen/" target="_blank"><i>A Touch of Zen</i></a> and Kenji Mizoguchi's <a href="http://letterboxd.com/labuzamovies/film/women-of-the-night-1948/" target="_blank"><i>Women of the Night </i></a></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">Big Auteurs! Alain Resnais's <a href="http://letterboxd.com/labuzamovies/film/melo/" target="_blank"><i>Melo</i></a> and James Cameron's <a href="http://letterboxd.com/labuzamovies/film/the-abyss/" target="_blank"><i>The Abyss</i></a></span>Peter Labuzahttp://www.blogger.com/profile/09057154332391743369noreply@blogger.com0tag:blogger.com,1999:blog-11148440.post-1624586851458263992014-06-26T00:57:00.000-04:002014-06-26T00:57:26.265-04:00The End of Men: Images by Hong Sang-Soo and Louis CK<div class="separator" style="clear: both; text-align: center;">
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><i>Woman is The Future of Man</i> (Hong Sang-Soo, South Korea, 2004) / <i>Louie</i> "Pamela (Part 1)" and "Pamela (Part 2)" (Louis C.K., USA, 2014)</span></div>
Peter Labuzahttp://www.blogger.com/profile/09057154332391743369noreply@blogger.com1tag:blogger.com,1999:blog-11148440.post-5699501045171281252014-06-16T16:40:00.000-04:002014-06-16T16:40:51.579-04:00Link Round-Up: Post Cannes, Pre-Apocalypse<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJbFtL7qq6eaIDF-HICMb1WPYwd4NgLi38KQSVx6d57GbI759-97UubEfCFH5u_jjmqrED414fwFHM1W39iEDej1AHMIoKWDchBI1zSFNR0U-eYlnphwi3zeCLSI825qKSUdsHfg/s1600/goodbye-to-language-cannes-2014.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJbFtL7qq6eaIDF-HICMb1WPYwd4NgLi38KQSVx6d57GbI759-97UubEfCFH5u_jjmqrED414fwFHM1W39iEDej1AHMIoKWDchBI1zSFNR0U-eYlnphwi3zeCLSI825qKSUdsHfg/s1600/goodbye-to-language-cannes-2014.jpg" height="225" width="400" /></a></div>
<span style="font-family: "Trebuchet MS",sans-serif;">I gotta get a better system of making sure I update this...</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">My first book, <a href="http://bit.ly/O8CiPM" target="_blank"><i>Approaching the End: Imagining Apocalypse in American Film</i></a>, is still due out in October. Here is the list of films I'll be tackling in it: <i>Kiss Me Deadly</i>, <i>The Lady from Shanghai</i>, <i>The Big Heat</i>, <i>The Rapture</i>, <i>God Told Me To</i>, <i>Days of Heaven</i>, <i>Strange Days</i>, <i>The Terminator</i>, <i>They Live</i>, and <i>Southland Tales</i>. There is also extended talk of <i>Out of the Past</i>, <i>In A Lonely Place</i>, <i>In The Mouth of Madness</i>, and <i>The World's End</i>.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">I went to the Cannes Film Festival for the first time, and it was a truly spectacular experience. You can see my <a href="http://bit.ly/1kFsxpB" target="_blank">Top films of the festival here</a> (and a <a href="http://letterboxd.com/labuzamovies/list/the-67th-cannes-film-festival/" target="_blank">complete ranking on Letterboxd</a>), and a special <a href="http://bit.ly/1pu2BO4" target="_blank">Cinephiliacs episode recorded at the Palais</a>. There were a few films I never got around to writing about (Techine, Lapid, and Ostlund in particular), but I did manage to write about the following films...</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">-<a href="http://bit.ly/1oXS9yc" target="_blank"><i>Winter Sleep</i></a> (Ceylan, Turkey) - Competition, Palm D'Or Winner</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">-<a href="http://bit.ly/1jMnrmr" target="_blank"><i>Foxcatcher</i></a> (Miller, USA) - Competition, Best Director </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><i>-<a href="http://bit.ly/1qGxSSj" target="_blank">Mr. Turner</a> </i>(Leigh, UK) - Competition, Best Actor Award (Timothy Spall)</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">-<a href="http://bit.ly/RUcqJF" target="_blank"><i>Maps To The Stars</i></a> (Cronenberg, USA/Canada) - Competition, Best Actress Award (Julianne Moore)</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">-<a href="http://bit.ly/1glaBAW" target="_blank"><i>Goodbye To Language</i></a> (Godard, Switzerland) - Competition, Jury Prize</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">-<a href="http://bit.ly/1ofIV2W" target="_blank"><i>Mommy</i></a> (Dolan, Canada) - Competition, Jury Prize</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">-<i><a href="http://bit.ly/1lKhQPk" target="_blank">Leviathan</a> </i>(Zvyagintsev, Russia) - Competition, Screenwriting Award</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">-<i><a href="http://bit.ly/1lno2MN" target="_blank">Grace of Monaco</a> </i>(Dahan, France/USA) - Opening Night</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><i>-<a href="http://bit.ly/1suEVJu" target="_blank">Timbuktu</a> </i>(Sissako, Mali) - Competition</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">-<a href="http://bit.ly/1gvfdEZ" target="_blank"><i>The Captive</i></a> (Egoyan, Canada) - Competition</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">-<a href="http://bit.ly/1oDWGs8" target="_blank"><i>The Homesman</i></a> (Jones, USA) - Competition</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">-<i><a href="http://bit.ly/1iZPoHA" target="_blank">Welcome To New York</a> </i>(Ferrara, USA/France) - Marketplace</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">-<a href="http://bit.ly/1iZPFtY" target="_blank"><i>National Gallery</i></a> (Wiseman, UK) - Director's Fortnight</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">-<a href="http://bit.ly/1nWYIUo" target="_blank"><i>Saint Laurent</i></a> (Bonello, France) - Competition</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">-<a href="http://bit.ly/1jOiGJ5" target="_blank"><i>Amour Fou</i></a> (Hausner, Austria) - Un Certain Regard</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">-<a href="http://bit.ly/1jiIlOJ" target="_blank"><i>Jauja</i></a> (Alonso, Argentina) - Un Certain Regard</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">-<a href="http://bit.ly/1qS7RQa" target="_blank"><i>Two Days, One Night</i></a> (Dardennes, Belgium/France) - Competition</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">-<a href="http://bit.ly/SeMCsg" target="_blank"><i>Lost River</i></a> (Gosling, USA) - Un Certain Regard</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">-<a href="http://bit.ly/RUcqJF" target="_blank"><i>The Search</i></a> (Hazanavicius, USA/France) - Competition</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">-<a href="http://bit.ly/1nvkta6" target="_blank"><i>Hard To Be A God</i></a> (German, Russia) - Marketplace</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">-<a href="http://bit.ly/1vRYTCj" target="_blank"><i>The Tale of Princess Kayuga</i></a> (Takahata, Japan) - Director's Fortnight</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><i>-<a href="http://bit.ly/1oo6Wm7" target="_blank">Clouds of Sils Maria</a> </i>(Assayas, France) - Competition</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">Catching up with Cinephiliacs episodes, I've got two episodes from Philadelphia with <a href="http://bit.ly/S0fLaV" target="_blank">Carrie Rickey on <i>Clueless</i></a> and <a href="http://bit.ly/1nzz5sv" target="_blank">Sam Adams on <i>The Long Goodbye</i></a>, and then <a href="http://bit.ly/1mIRm2l" target="_blank">Philip Loppate talking <i>Charulata</i></a> and <i>Reverse Shot</i>'s <a href="http://bit.ly/1n2dgg2" target="_blank">Michael Koresky on <i>The Seventh Victim</i></a>.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">And then there's my Criterion reviews! I've got looks at <a href="http://bit.ly/1o5XsPM" target="_blank"><i>Riot In Cell Block 11</i></a>, an investigation into <a href="http://bit.ly/1ioDIiv" target="_blank">the two different cuts of <i>Red River</i></a>, and a look at an essential bonus feature on the Blu of <i>All That Heaven Allows</i> - Mark Rappaport's <a href="http://bit.ly/1qlyADu" target="_blank"><i>Rock Hudson's Home Movies</i></a>.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">Two more <i>Masters of Cinema</i> Blus are on the way with booklets edited and compiled by yours truly: <a href="http://www.eurekavideo.co.uk/moc/catalogue/boomerang/" target="_blank">Elia Kazan's <i>Boomerang!</i></a> and John Cassavetes's <i>Too Late Blues</i>. More information on those at a later date.</span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">Some stuff on Letterboxd: </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">-New Stuff: <a href="http://letterboxd.com/labuzamovies/film/godzilla-2014/" target="_blank"><i>Godzilla</i></a>, <a href="http://letterboxd.com/labuzamovies/film/the-amazing-spider-man/" target="_blank"><i>The Amazing Spider-Man</i></a>, <a href="http://letterboxd.com/labuzamovies/film/riddick/" target="_blank"><i>Riddick</i></a></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><i>-</i>Old Stuff: <a href="http://letterboxd.com/labuzamovies/film/the-water-magician/" target="_blank"><i>White Threads of the Waterfall</i></a>, <a href="http://letterboxd.com/labuzamovies/film/utamaro-and-his-five-women/" target="_blank"><i>Utamaro and His Five Women</i></a>, <a href="http://letterboxd.com/labuzamovies/film/the-little-foxes/" target="_blank"><i>The Little Foxes</i></a>, <a href="http://letterboxd.com/labuzamovies/film/melo/" target="_blank"><i>Melo</i></a>, <a href="http://letterboxd.com/labuzamovies/film/in-harms-way/" target="_blank"><i>In Harm's Way</i></a><i> </i></span>Peter Labuzahttp://www.blogger.com/profile/09057154332391743369noreply@blogger.com0tag:blogger.com,1999:blog-11148440.post-18985938726225894032014-06-13T12:15:00.001-04:002014-06-17T22:54:14.100-04:00Frame of Reference: Kelly Reichardt's Night Moves<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7QE8hTSqx0uGL-UOpzpmbtlFcOmhFdwAo_41bQgBZ95y0zp-IRxRDRhC-1ebl4vY8alFAbg2qRltfGeQnh43qwkQGyVMaOWJcBJovshwwiyaXYor2XP-xVuOyu4BHm3TBnWb-ig/s1600/nightmoves_screencomment_2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7QE8hTSqx0uGL-UOpzpmbtlFcOmhFdwAo_41bQgBZ95y0zp-IRxRDRhC-1ebl4vY8alFAbg2qRltfGeQnh43qwkQGyVMaOWJcBJovshwwiyaXYor2XP-xVuOyu4BHm3TBnWb-ig/s1600/nightmoves_screencomment_2.jpg" height="225" width="400" /></span></a></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><i style="mso-bidi-font-style: normal;">Night Moves</i>, a
decidedly didactic feature from Kelly Reichardt, is a film that is set deliberately within the closed-off minds of its protagonists, a set of
eco-terrorists set on blowing up a dam in Oregon. Because of this lack of an
outside, Reichardt does not offer an easy set of morality and politics to offer
up to create a point of comparison. The closest the film ever comes to creating
an antagonist is a local fertilizer seller who simply wants to follow the
government’s rules about needing to send in a social security number in order
to purchase the substance. Instead, Reichardt’s critique is crafted through her trademark minimalism, a film that examines the ripples of a pure ideology.
The film’s protagonist Josh, played by a phenomenally minimal Jesse Eisenberg,
is brimming with paranoia at every second. But he’s also rarely looking past
the frame. </span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">Using a genre for something more crafty and subdued was also
buried deep within Riechardt’s last feature, <i style="mso-bidi-font-style: normal;">Meek’s Cutoff</i>, a Western with a shift of power so subtle it was
lost on many audience members. <i style="mso-bidi-font-style: normal;">Night
Moves</i> seems to be having somewhat of a similar reaction, with the
recognizable genre elements overpowering her real motivations (there is also an
issue that the director has decided to attack a liberal cause, a facet many
critics have labored on). The totality of the director’s intentions are present
throughout, especially during an early sequence when Josh and Dena (Dakota
Fanning) meet up with their fellow conspirator Harlon (Peter Saarsgard) at a
local diner. Each can’t trust the other, raising issues to each other about the
loyalty of the other to the mission. These people are looking inward, not
outward, and Riechardt always positions one against two within the frame.</span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"> </span></div>
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<o:p><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"></span></o:p></div>
<a name='more'></a><br />
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">Certainly Josh never looks outward—whenever he does, his perception is warped by his fundamentalist beliefs. As <a href="http://filmmakermagazine.com/86114-why-dont-we-all-go-blow-stuff-up-kelly-reichardt-on-night-moves/" target="_blank">Vadim Rizov notes</a> of a scene
where the young man visits inside a wealthy home, “We see his neighborhood
through Josh’s angry eyes: the backyard waterfall is a clear misallocation of
resources, the golf on TV the final insult…<i>Night Moves</i> makes it easier
to view the everyday world’s physical components through perpetually,
justifiably aggrieved environmentalist eyes.” Josh only sees things for their
use, and even his ambiguous relationship with Dena (Dakota Fanning) is mostly as an object (her
rich Connecticut father is unknowingly funding their entire operation). The young girl's own
beliefs are fundamentally flawed, as she postulates on the future destruction
based on (one) college class she took. As one montage sequence shows, there might actually be very little to differentiate these people from those who use the parkgrounds for recreation. They just don't realize it.</span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">The idea that <i style="mso-bidi-font-style: normal;">Night
Moves</i> is originally endorsing its protagonists goals and methods, as some
have claimed, is fundamentally flawed. Because of Reichardt’s minimalism in
both plot and tone, there’s no sense that we are supposed to <i style="mso-bidi-font-style: normal;">want</i> them to succeed. Riechardt’s
staging is one of work—the camera there captures the material essence of their
process: loading armed fertilizer, attaching boats to trucks, and planning
every detail (or at least freaking out about those details). They remain centered within themselves, and Reichardt plays it as such. When it comes to the deed, a Hitchcockian placed flat tire plays out entirely in long shot, putting us wholly within the environmentalists' head spaces. But they never
grapple with the practicalities of their ideology—Josh makes a remark about
society destroying salmon in favor of keeping their iPods running, but it seems
like a false remark based on little he sees. Even the bombing itself becomes a
metaphor—they simply stare straight as the camera stays focused on their
unblinking faces. If they’re also Marxists, they may want to go check the
chapter about products of our labor.</span></div>
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<br /></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">Instead, as the world slowly opens up to Josh’s family, as
well as an unintended consequence of the bombing, the convictions of these
ideology give way to personal and moral convolutions. Reichardt emphasizes
these slowly—Dena is seen scratching herself right after the bombing, which
develops into a rash (only seen in soft focus), to full out hives. It’s this
kind of physical detail, never overstated, but crucial to her character, that
Reichardt layers within, making the terrifying climax psychologically justified
as well as intensely thrilling. </span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">If <i style="mso-bidi-font-style: normal;">Night Moves</i>
does ultimately divulge into a “crime doesn’t pay” message, it is one that comes with extra baggage and political consequences than something that simplistic. Josh doesn’t go to jail for his actions, he instead
forced to reintegrate himself into the system. His surrogate father explains
that their environmental goals have never been to change the world, simply create
their own little sanctuary. Josh can’t live with that, so he’s forced into
(what else but) an outdoor camping gear store and filling out a job application. In a mirror, he spies on two women, both taking time out of their shopping
experience to check their iPods.</span></div>
<!--EndFragment-->Peter Labuzahttp://www.blogger.com/profile/09057154332391743369noreply@blogger.com0tag:blogger.com,1999:blog-11148440.post-32693710530321039292014-04-25T12:34:00.000-04:002014-04-25T13:03:38.086-04:00Link Round-Up: Va-Va-Boom!<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGgY61z3-5awxEBgZmvTOzjGvNmVmYcNrQGKL40XzBhRBB7u9Y8XIdlxT7AfnV3MwVmLZCEAUaYGSq8DLdEGA7eHeZ_p9a13Pm552BgaE-zScvsqlU1xlqwZwHj3hubW_xRoDiKQ/s1600/Kiss-Me-Deadly-1955-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGgY61z3-5awxEBgZmvTOzjGvNmVmYcNrQGKL40XzBhRBB7u9Y8XIdlxT7AfnV3MwVmLZCEAUaYGSq8DLdEGA7eHeZ_p9a13Pm552BgaE-zScvsqlU1xlqwZwHj3hubW_xRoDiKQ/s1600/Kiss-Me-Deadly-1955-3.jpg" height="243" width="400" /></a></div>
<span style="font-family: "Trebuchet MS",sans-serif;">Many, <i>many </i>updates follow. I promise to be better at doing this more than once a month.</span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">My Masters Thesis for Columbia University is being updated, revised, and expanded for a book! Coming in October from <a href="http://thecriticalpress.com/" target="_blank">The Critical Press</a>, you'll be able to purchase <a href="http://thecriticalpress.com/titles/approaching-the-end/" target="_blank"><i>Approaching the End: Imagining Apocalypse in American Film</i></a>. The book will cover my theories on film noir and its connection to American melodrama and various atomic, religious, and technological apocalyptic narratives. You can read an expanded note on what will be <a href="http://thecriticalpress.com/titles/approaching-the-end/" target="_blank">covered here</a>.</span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">Another thing worth picking up: <a href="http://shop.littlewhitelies.co.uk/product/the-boyhood-issue-pre-order" target="_blank"><i>Little White Lies'</i>s May issue</a>, which is dedicated to Richard Linklater. There are fantastic pieces by Jordan Cronk, Gabe Klinger, Vadim Rizov, and editor David Jenkins. My own piece covers Linklater's films set outside of his homeland of Austin, Texas, which covers the <i>Before </i>films, <i>School of Rock</i>, and <i>Me And Orson Welles</i>, you can <a href="http://shop.littlewhitelies.co.uk/product/the-boyhood-issue-pre-order" target="_blank">pre-order the issue here</a>.</span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">The Criterion Collection continues to be busy. I reviewed a number of new discs for <i>The Film Stage</i>, including Dreyer's 1925 silent curiosity, <a href="http://bit.ly/RM4Txe" target="_blank"><i>Master of the House</i></a>, Akira Kurosawa's "this is so much more than <i>Star Wars</i>" epic <a href="http://bit.ly/Nyj0Di" target="_blank"><i>The Hidden Fortress</i></a>, and three newly restored shorts by Harold Lloyd, which can be found on the new Blu-Ray for <a href="http://bit.ly/1pwTY3J" target="_blank"><i>The Freshman</i></a>. </span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">My conversation on "dated films" with Abbey Bender wrapped up on <i>To Be (Cont'd)</i>. You can read the <a href="http://bit.ly/1qf4CPX" target="_blank">first</a>, <a href="http://www.tobecontd.com/the-joys-of-dated-cinema-series/2014/3/14/nostalgia-for-a-time-you-didnt-experience#.U1qO2lcvl9W" target="_blank">second</a>, <a href="http://bit.ly/1msqQ0y" target="_blank">third</a>, and <a href="http://www.tobecontd.com/the-joys-of-dated-cinema-series/2014/4/4/how-do-we-know-when-were-better-than-a-film#.U1qO3Fcvl9W" target="_blank">fourth</a> posts here respectively. Then check out the April conversation between Glenn Heath Jr. and Tim Grierson on <a href="http://www.tobecontd.com/" target="_blank">the work of Jonathan Glazer</a>. I gave my own brief on his new film, <a href="http://letterboxd.com/labuzamovies/film/under-the-skin-2013/" target="_blank"><i>Under the Skin</i>, over here</a>. </span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">If you aren't following <i>The Cinephiliacs</i>, you've missed conversations with <a href="http://bit.ly/1g1VQ51" target="_blank">Dana Stevens </a>talking about Portuguese poetry and Max Ophuls, <a href="http://bit.ly/1e2RJjE" target="_blank">Mark Harris</a> on his fantastic new book<i> Five Came Back</i> and the Hollywood directors who went to war, and <a href="http://bit.ly/1hDIYTo" target="_blank">Matt Lynch</a> on America's largest independent video store and the morality of John Woo.</span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">Over at Letterboxd, I've written some posts on</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">New Films! Wes Anderson's <a href="http://letterboxd.com/labuzamovies/film/the-grand-budapest-hotel/" target="_blank"><i>The Grand Budapest Hotel</i></a>, Juame-Collet Serra's <a href="http://letterboxd.com/labuzamovies/film/non-stop-2014/" target="_blank"><i>Non-Stop</i></a>, Albert Serra's <a href="http://letterboxd.com/labuzamovies/film/story-of-my-death/" target="_blank"><i>Story of My Death</i></a>, Hong Sang-Soo's <a href="http://letterboxd.com/labuzamovies/film/our-sunhi/" target="_blank"><i>Our Sunhi</i></a>, and <a href="http://letterboxd.com/labuzamovies/film/the-lego-movie/" target="_blank"><i>The LEGO Movie</i></a>.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">Canonical Works! <a href="http://letterboxd.com/labuzamovies/film/stranger-than-paradise/" target="_blank"><i>Stranger Than Paradise</i></a>, <i><a href="http://letterboxd.com/labuzamovies/film/an-american-in-paris/" target="_blank">An American In Paris</a>.</i></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">Really good things off the radar! Powell and Pressburger's <a href="http://letterboxd.com/labuzamovies/film/oh-rosalinda/" target="_blank"><i>Oh...Rosalinda!</i></a>, Richard Fliecher's <i><a href="http://letterboxd.com/labuzamovies/film/violent-saturday/" target="_blank">Violent Saturday</a> </i>and <a href="http://letterboxd.com/labuzamovies/film/barabbas/" target="_blank"><i>Barabbas</i></a>, Claire Denis's <a href="http://letterboxd.com/labuzamovies/film/no-fear-no-die/" target="_blank"><i>No Fear, No Die</i></a>, Jacques Rivette's <a href="http://letterboxd.com/labuzamovies/film/secret-defense/" target="_blank"><i>Secret Defense</i></a>, Robert Mamoulian's <a href="http://letterboxd.com/labuzamovies/film/love-me-tonight/" target="_blank"><i>Love Me Tonight</i></a>, and <a href="http://letterboxd.com/labuzamovies/film/sweetgrass/" target="_blank"><i>Sweetgrass</i></a> from Harvard SEL.</span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">Finally, I'm proud to announce that in the fall, I'll be switching coasts and beginning my PhD in Critical Studies at the University of Southern California. The move is somewhat terrifying, but I hope to continue to keep trying to provide fantastic writing on film and more.</span>Peter Labuzahttp://www.blogger.com/profile/09057154332391743369noreply@blogger.com0tag:blogger.com,1999:blog-11148440.post-48655800101601867162014-04-10T11:06:00.003-04:002014-04-10T11:06:56.932-04:00Kings and Pawns: Internet 3.0 and Bujalski's Computer Chess<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUZr5qj0DZmVnc5vfxfWBsBM4vqiqZh3k1dn-AIbartzQLVfXu4ahUvZScpfCXtOF6T_mOpd5obatPQq8RyFyCJhCyelhpJpc5DrN9PO8vuZZPSh3bC6rMW7mrIi0n6hSG0fCQpw/s1600/Computer+chess_Page_11.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUZr5qj0DZmVnc5vfxfWBsBM4vqiqZh3k1dn-AIbartzQLVfXu4ahUvZScpfCXtOF6T_mOpd5obatPQq8RyFyCJhCyelhpJpc5DrN9PO8vuZZPSh3bC6rMW7mrIi0n6hSG0fCQpw/s1600/Computer+chess_Page_11.jpg" height="301" width="400" /></a></div>
<span style="font-family: "Trebuchet MS",sans-serif;">For those outside the academic world of cinema studies, the Society for Cinema and Media Studies is the super big sprawling academic conference for film studies in the world, featuring dozens of panels and hundreds of papers, and a good deal of drinking. This year's conference in Seattle was my first year attending, and I enjoyed many of the papers I heard, including one examining the special effects of <i>Bringing Up Baby</i>, the relationship between slow cinema and gallery spaces, and how data mining of scripts and trades can be used to improve narrative analysis and industry research.</span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">I also got to present a paper, which was on a panel looking at how new media products were changing social and aesthetic precedents. My paper was somewhat of an outlier - focusing on Andrew Bujalski's <i>Computer Chess</i> - so I changed it to look at how the film can be seen as a response to Internet 3.0. You can listen to the paper below. </span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><iframe frameborder="no" height="250" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/142857043&auto_play=false&hide_related=false&visual=true" width="100%"></iframe></span>Peter Labuzahttp://www.blogger.com/profile/09057154332391743369noreply@blogger.com0tag:blogger.com,1999:blog-11148440.post-68809827555137260072014-03-10T16:34:00.003-04:002014-03-10T16:35:07.674-04:00Link Round-Up: Stuff I've Been Writing<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJcemLOdlZ3ke9jbTnl1YrwiZSAiA2-GVTX0VQiEVn2uyUd93-TwTodwL7m8GExbhyphenhyphen1-jXaobVTT6y9Mf2NoAVTX_4y5nHS7qKUfvb8AvjTej04q06QOe6QVh-h5bg8G9QD2xxVQ/s1600/Kevin-Hart-About-Last-Night.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJcemLOdlZ3ke9jbTnl1YrwiZSAiA2-GVTX0VQiEVn2uyUd93-TwTodwL7m8GExbhyphenhyphen1-jXaobVTT6y9Mf2NoAVTX_4y5nHS7qKUfvb8AvjTej04q06QOe6QVh-h5bg8G9QD2xxVQ/s1600/Kevin-Hart-About-Last-Night.jpg" height="266" width="400" /></a></div>
<span style="font-family: "Trebuchet MS",sans-serif;">Much more over with the good folks at <a href="http://variety.com/author/peterlabuza/" target="_blank"><i>Variety</i></a>, including the pretty funny Kevin Hart comedy <a href="http://bit.ly/1c2WR9r" target="_blank"><i>About Last Night</i></a>, the not particularly good but whatever horror film <a href="http://bit.ly/1bXq45K" target="_blank"><i>Haunt</i></a> with Jacki Weaver in a small role, the deplorably stupid <a href="http://bit.ly/1eWZOuV" target="_blank"><i>Down and Dangerous</i></a>, and the deplorably moralistic and simply pointless <a href="http://bit.ly/1c6Vzun" target="_blank"><i>Lucky Bastard</i></a>. These kind of reviews are fun to write!</span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">Over at <a href="http://www.tobecontd.com/" target="_blank"><i>To Be (Cont'd)</i></a>, the March discussion is between Abbey Bender and myself on the idea of timeless films, dated-ness, and the historical spectator. <a href="http://letterboxd.com/labuzamovies/film/sparrow/" target="_blank">I wrote the fist post here</a>. It also has gotten some great response over at <i>The Dissolve</i> through <a href="http://thedissolve.com/news/1682-feedback-timeless-vs-dated/" target="_blank">Noel Murray's excellent "Feedback" column</a>.</span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">Over at <a href="http://thefilmstage.com/author/plabuza/" target="_blank"><i>The Film Stage</i></a>, I tried to find the Soderbergh side to his not-so recognizably Soderbergh film <a href="http://bit.ly/1hzvCnq" target="_blank"><i>King of the Hill</i></a>, which is now out on Criterion Blu (and has his 1995 feature <i>The Underneath</i> as a bonus feature).</span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">Over at <a href="http://www.inreviewonline.com/inreview/home/home.html" target="_blank"><i>In Review Online</i></a>, I dug further into Vulgar Auteurism with <a href="http://bit.ly/1hKcQ16" target="_blank">Paul WS Anderson's <i>Pompeii</i></a>, a pointedly disappointing work from the man. Never go without Milla again, good sir.</span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">If you haven't heard <a href="http://bit.ly/1hKcQ16" target="_blank">Kent Jones on <i>The Cinephiliacs</i></a>, then something is very wrong with you.</span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">On Letterboxd, by auteur:</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">George Cukor: <a href="http://letterboxd.com/labuzamovies/film/the-philadelphia-story/" target="_blank"><i>The Philadelphia Story</i></a>, <a href="http://letterboxd.com/labuzamovies/film/a-womans-face/" target="_blank"><i>A Woman's Face</i></a>, <a href="http://letterboxd.com/labuzamovies/film/born-yesterday/" target="_blank"><i>Born Yesterday</i></a>, <a href="http://letterboxd.com/labuzamovies/film/the-marrying-kind/" target="_blank"><i>The Marrying Kind</i></a>, and <a href="http://letterboxd.com/labuzamovies/film/a-star-is-born-1954/" target="_blank"><i>A Star is Born</i></a>.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">Delmer Daves: <a href="http://letterboxd.com/labuzamovies/film/the-hanging-tree/" target="_blank"><i>The Hanging Tree</i> </a></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">Johnnie To: <i><a href="http://letterboxd.com/labuzamovies/film/sparrow/" target="_blank">Sparrow</a> </i>and <a href="http://letterboxd.com/labuzamovies/film/running-on-karma/" target="_blank"><i>Running on Karma</i></a></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">Hong Sang-Soo: <a href="http://letterboxd.com/labuzamovies/film/okis-movie/" target="_blank"><i>Oki's Movie</i></a> and <a href="http://letterboxd.com/labuzamovies/film/the-day-he-arrives/" target="_blank"><i>The Day He Arrives</i></a></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">Teinosuke Kinugasa: <a href="http://letterboxd.com/labuzamovies/film/crossroads-1928/" target="_blank"><i>Crossroads</i></a> and <a href="http://letterboxd.com/labuzamovies/film/a-page-of-madness/" target="_blank"><i>A Page of Madness</i></a></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">Edgar Ulmer: <a href="http://letterboxd.com/labuzamovies/film/the-light-ahead/" target="_blank"><i>The Light Ahead</i></a>, <a href="http://letterboxd.com/labuzamovies/film/murder-is-my-beat/" target="_blank"><i>Murder is My Beat</i></a>, and <a href="http://letterboxd.com/labuzamovies/film/beyond-the-time-barrier/" target="_blank"><i>Beyond the Time Barrier</i></a>.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">Silent Stuff: Chaplin's <a href="http://letterboxd.com/labuzamovies/film/the-kid/" target="_blank"><i>The Kid</i></a> and DeMille's <a href="http://letterboxd.com/labuzamovies/film/the-cheat/" target="_blank"><i>The Cheat</i> </a></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>Peter Labuzahttp://www.blogger.com/profile/09057154332391743369noreply@blogger.com0