Tag Archives | film
Police Mortality is Anti-Banality’s latest wish-fulfillment symptomology of, as one character hallucinates it, “a precisely formulated national conspiracy of police genocide.” It is a paranoid-schizophrenic blitz against police subjectivity, skimmed off nearly 200 movies by that other social superego–Hollywood. In this opening scene, the immaculate suicide of one LAPD officer begins to reveal the contradictions of police existence to a force which, finding itself multiply irreconcilable with itself, resorts to terminal civil war, eradicating the prevailing organization of life in the process.
Are you a Futurist? Are you assured that we are going to burn ourselves out as a species in the next century? Are you an artist set on using these tools we have while we have the time, or an optimist set to create an army of Nanobots (or Nanobats, if you live in Gotham) that will cure cancer?
There is room for all these perspectives and more at this years Extreme Futurist Festival (XFF for short) being held in Los Angeles.
And December 21 and 22 2012! What a time for it. End of the world, man!
This even will feature
- Speakers (Randal A. Koene, Dr. Aubrey de Grey, Dr. Ben Goertzel, …)
- Music (Lydia Lunch, Negativland, …)
- Art (Kevin Mack, Shayna Yates, James Curcio, …)
- Films (H+ the Digital Series, Surf Now Apocalypse Later, Tragos, …)
- Vendors (Grindhouse Wetwares, Re/Search Publications, Mythos Media including the recent Words of Traitors and Rachel Haywire’s Acidexia, …)
- …and, you guessed it, a great deal more.
Unclear Holocaust is a feature-length autopsy of Hollywood's New York-destruction fantasy, gleaned from over fifty major studio event-movies and detourned into one relentless orgy of representational genocide. It is the unrivaled assembly of the greatest amount of capital and private property heretofore captured in one frame, that, with unfathomable narrative efficacy, suicides itself in an annihilatory flux of fire, water, and aeronautics...We see the Cinema as it really is; an unequivocal annihilation, the auto-genocidal mass fantasy of a megalomaniacally depressed First World.
The worst idea ever, or the best idea ever? Could the Innocence of Muslims be so awful that it’s good? The Atlantic Wire writes:
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For the most part, the West has been spared the kind of turbulent protests rocking the Muslim world in recent days, but that soon could change as anti-Islam groups threaten to screen the film Innocence of Muslims in the U.S., Canada and Germany. In a strange jumble of events, the provocative idea appears to have originated from the German far-right political party Pro Deutschland, assisted by Florida pastor Terry Jones and taken up by a Canadian Hindu advocacy group, in a move that will likely test the respective countries’ commitment to freedom of speech.
On Tuesday…the Pro Deutschland party announced plans to screen the incendiary film in a Muslim neighborhood in Berlin later this year. “We plan to show the trailer of the film at a public screening in a mainly Muslim area of Berlin on the first or second weekend of November and then, in a nearby cinema or suitable venue, screen the entire movie,” said Lars Seidensticker, chairman of the party’s state faction in Berlin.
Between 1957 and 1959, Belson collaborated with composer Henry Jacobs on the historic Vortex Concerts, which combined electronic music with moving visual abstractions projected on the dome of Morrison Planetarium in San Francisco (and also the Brussels World Fair in 1958). These pioneer Light Shows used filmed imagery as well as multiple projections of geometric and polymorphous light phenomena. The Vortex experience inspired Belson to abandon traditional painting and animation in favor of creating visual phenomena in something like real time, by live manipulation of pure light. Many of the films share certain images which Belson regards as "hieroglyphic-ideographic" visual units that express complex ideation not easily stated in verbal terms.
After Hollywood began producing films with soundtrack music, a publicity campaign foretold that recorded (“canned”) music, symbolized by hostile robots, would choke the art, color, and humanity out of society. Scoff if you will…but there’s something magical about a live band accompanying a film. Via Paleofuture:
After the release of The Jazz Singer in 1927, thanks to synchronized sound, the use of live musicians was unnecessary. In 1930 the American Federation of Musicians formed a new organization called the Music Defense League and launched a scathing ad campaign to fight the advance of this terrible menace known as recorded sound.
James Mcbride, co-writer of Spike Lee’s ‘Red Hook Summer,’ has penned a pull-no-punches open letter to Hollywood, detailing some serious issues on race and representation in cinema, and what it means to be a storyteller in an overtly commercial studio system. Via Colorlines.
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The reviews for Spike Lee’s film “Red Hook Summer” that premiered at Sundance earlier this week have not been good. His comments made after the premiere about Hollywood studios knowing “nothing about black people” made more headlines than the actual film.
An open letter published yesterday by “Red Hook” co-writer, James McBride, is sure to make even more headlines because he takes the film community to task and says “nothing in this world happens unless white folks says it happens.”
Below is an excerpt from McBride’s open letter on the 40 Acres and a Mule website:
Three days ago, at the premiere of “Red Hook Summer” at The Sundance Film Festival, Spike, usually a cool and widely accepting soul whose professional life is as racially diverse as any American I know- lost his cool for 30 seconds.